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AD THE TRUTH
IYSTIFYIHG GREAT
AND EDDIE
VE THEIR
OBLEMS TOO!
JANET
LEIGH
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•Screen Play by DOROTHY KINGSLEY • Based on the Play "Road to Rome” by ROBERT E. SHERWOOD • Songs: BURTON LANE and HAROLD ADAMSON
Choreography by HERMES PAN • Photographed in EASTMAN COLOR • Directed by GEORGE SIDNEY • Produced by GEORGE WELLS* • An M-G-M Picture
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A PRODUCT OF BRISTOL-MYERS
PHOTOPLAY
JANUARY, 1955 • favorite of America’s moviegoers for over forty years
HIGHLIGHTS
Announcing the Win a Present from a Star Winners
All for Love . .
New Year Eves (Inside Stuff) Cal York
The Devil Is a Gentleman (Marlon Brando) Jane Corwin
A Wonderful Thing Happened Today (Debbie Reynolds) . Phillip Chapman
Count Your Blessings Jerry Asher
Purdom — Man on a Tightrope (Edmund Purdom) Hyatt Downing
When the Roots Run Deep (Alan Ladd) Dee Phillips
Sweet Stuff (Jean Simmons) Ernst Jacobi
Mad Fads .
Mother's Little Dividends June Allyson
Rock Hudson's Love Affair with the USA Ray Manning
Don’t Blame Yourself, Marilyn (Marilyn Monroe) Nanette Kutner
The Girl You Know as Marilyn (Marilyn Monroe) Lilia Anderson
Where There's a Will, There's a Resolution Sheilah Graham
Don’t Be a Teenage Misfit (Kim Novak) Lola Parmeter
Tough Softie (Victor Mature) Beverly Ott
Hey There, Ton with the Stars in Your Eyes (Janet Leigh) . .Ralph Edwards
Photoplay Star Fashions
Needlecraft Designs ,
Yours for the Sewing
6
21
22
24
26
28
30
32
34
36
38
40
42
44
46
48
50
52
55
64
81
STARS IN FULL COLOR
Elizabeth Taylor 22
Linda Christian 22
Piper Laurie. . . . ! 23
Elaine Stewart 23
Ava Gardner 23
Marlon Brando 25
Doris Day 28
Tab Hunter 28
Terry Moore 28
Virginia Mayo 29
Michael O’Shea 29
Susan Hayward 29
Edmund Purdom 31
Jean Simmons 34
Mitzi Gaynor 36
Pier Angeli 36
Cyd Charisse 36
Rosemary Clooney 36
Barbara Darrow 37
Diana Lynn 37
Shelley Winters 37
Rock Hudson 40
Marilyn Monroe 42
SPECIAL
Readers Inc 4
Let's Go to the Movies . Janet Graves 8
Laughing Stock . Erskine Johnson 10
Hollywood Parties . Edith Gwynn 14
Brief Reviews . .
EVENTS
That’s Hollywood . Sidney Skolsky 16
Casts of Current Pictures .... 17
The Hollywood Story Shirley Thomas 18
Hollywood Whispers . Florabel Muir 74
92
Cover: Color Portrait of Janet Leigh, next in Columbia’s “My Sister Eileen," by Seawell of
Pan I Hesse Studios. Don Loper gown. Other color picture credits on page 86.
EDITORIAL
Ann Higginbotham — Editor
Ann Mosher — Supervising Editor
Evelyn Savidge Pain — Managing Editor
ART STAFF
Ron Taylor — Art Director
Norman Schoenfeld — Assistant Art Director
STAFF
Rena Firth — Associate Editor
Janet Graves — Contributing Editor
Margery Sayre — Assistant Editor
FASHION STAFF
Lillian Lang — Fashion Director
Hermine Cantor — Fashion Editor
HOLLYWOOD
Sylvia Wallace — Editor
Contributing Editors: Maxine Arnold, Jerry Asher, Beverly Ott, Ruth Waterbury
Photographer : Phil Stern
JANUARY, 1955
VOL. 47, NO. 1
PHOTOPLAY IS PUBLISHED MONTHLY by Maclatlden Publications, Inc., New York, N. Y.
EXECUTIVE, ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street, New York 17, N. Y.
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Write to Photoplay, Macfadden Publications,, Inc., 205 East 42nd Street, New York 17, N. Y.
MANUSCRIPTS DRAWINGS AND PHOTOGRAPHS will be carefully considered, but publisher cannot be responsible
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Color Printing Company. Mt.mber of True Story Women’s Group
laughs gsT girls girls
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Address your letters to Readers Inc., Photoplay, 205 East 42nd Street, New York 17, New Yarn
We regret we are unable to return or reply to any letters not published In this column.
READ
SOAP BOX:
Recently 1 lieard about a star who walked
off the set after an argument with her direc-
tor. She wanted to play the scene one way.
He preferred another. So she decided she
wouldn't play the scene at all unless she
won her point.
Let the experts call the signals
I’ve made a number of pictures and I’ve
reached a pretty definite conclusion on this
particular score. Actors and actresses should
act and leave the rest to the experts whom
the studio has gone to great expense to
employ.
When it comes to actual picturemaking,
it’s my theory that the director knows best.
One person has to lead the production. He
should call the signals. I’m not implying that
his co-workers should sit silently if they have
a suggestion to make. However the director
should have the final say. After all, he’s the
fellow keeping the entire picture in mind:
the story line, the camera angles, cutting,
editing and many other factors.
The director alone knows what effects he
wishes to achieve. It’s the same with any
business head. He thinks of the situation as
a whole. The girl who can't understand this
should buckle down and learn how to take
orders.
Mona Freeman
I’m sure that many of your readers will
agree with me that some people in Holly-
wood are really off-beat. Proof of that fact
is what is happening to Montgomery Clift.
A knowledge of acting isn’t necessary to
see that Clift is a real artist. Such artists are
scarce in the world and scarcer in Holly-
wood ... It seems to me that art is having
to take a back seat to Hollywood’s out-
moded idea of how actors should behave
themselves ... It is a sad thing for Holly-
wood that some of the people who could
better the industry and gain a lasting place
in history are being trampled underfoot.
C. Kennady
Solano, New Mexico
Just came from seeing “Ring of Fear.”
It was good . . . Full of suspense. And hand
a bouquet to Sean McClory, who should
have had top billing . . . Hand Mickey
Spillane a bouquet, too. Although his part
was small ... he was very natural. I
always wondered why Hollywood didn’t star
P him in his Mike Hammer series . . . Holly-
wood needs new faces. And speaking of
“New Faces,” that show was a wonderful
idea and a wonderful introduction to a lot
of good talent. I hope it won’t be the last
we see of them. One particular new face,
Robert Clary, I hope Hollywood keeps
around. He fascinates me. So he’s short. So
1 like short men. So shoot me alreddy!
There’s no dimension on appeal. He’s cute
and he can sing. Hollywood tries to keep
men too much of one type. Tall, dark, hand-
some . . . Women like a variety of types.
Here are three different types of men I
truly believe Hollywood needs: Sean Mc-
Clory, Mickey Spillane and Robert Clary.
Let’s see more of them.
Evelyn Mahoney Elms
Kansas City, Missouri
I am fourteen years old and have just
seen “Gone with the Wind.” I think it is
the best picture I’ve ever seen. I can’t stop
raving about it. How about releasing some
more older films, Hollywood? Shirley
Temple’s pictures, the Andy Hardy series
and others. I know today’s teenagers would
like to see them.
Anita Williams
Atlantic City, New Jersey
CASTING:
My idea of a boxoffice movie treat would
be “Ethan Frome,” with Joan Crawford
as Zenobia. Marlon Brando as Ethan and
Grace Kelly as Matty, and to top it off, how
about Elia Kazan as director? What a
terrific movie that would make !
Thomas De Santy
North Adams, Massachusetts
I’d like to see Zane Grey’s “The Border
Legion” made into a movie . . . with Bar-
bara Rush as Joan Randle ; Bob Wagner as
Jim Cleve; Richard Widmark as Jack
Kells; Jack Palance as Gulden.
Ellen Brazell
Syracuse, New York
I think “The Frightened Stiff” by Kelley
Roos would make a very good movie with
Scott Brady as Jeff Troy and Cyd Charisse
as his wife Haila. This story, although a
good mystery, is very comical.
Nancy Weiss
St. Petersburg, Florida
Having just read “Each Bright River,” I
would like to see it made into a movie. It
is based on the settling of Oregon. Rock
Hudson and Piper Laurie would be won-
derful in it.
Theora Angus
Ft. Duchesne, Utah
QUESTION BOX:
Would you please give me some informa-
tion about the male players in “Seven Brides
for Seven Brothers”? I enjoyed the movie
so much that I would be very interested to
know who played the main characters. I
would also like to know where I would write
to obtain a picture of them.
Rose Ellen Sweeney
Syracuse, New York
Could you please tell me who played the
parts of the six brothers’ brides?
Gretchen Caverno
Jefferson City, Missouri
The Pontipee brothers and their brides
are Adam — Howard Keel, Milly — Jane Pow-
ell; Benjamin — Jeff Richards, Dorcas — Julie
N ewmeyer ; Gideon — Russ Tamblyn, Alice —
Nancy Kilgas; Frank — Tommy Rail, Sarah
— Betty Carr; Daniel — Marc Platt, Liza —
Virginia Gibson; Caleb — Matt Mattox, Ruth
- — Ruta Kilmonis ; Ephraim — Jacques d’ Am-
boise, Martha — Norma Doggett. Write
M-G-M Studios, 10202 West Washington
Blvd., Culver City, California. — ED.
Can you tell me if the six other girls, not
including Jane Powell, sang their own parts?
Fes, brides and grooms all did their own
singing. — ED.
Could you please tell me where I can get
the music from “Seven Brides for Seven
Brothers”?
Carolyn Vawtee
Bethany, Oklahoma
Look for the M-G-M album. — ED.
Could you please give me some informa-
ation on Jeff Richards? His height, is he
married? current pictures, etc.
Dorothy Morris
Brooklyn, New York
Ex-baseball player Jeff, 6'3", is wed to
Shirley Sibre. Now in “Crest of the W ave,”
coming in “ Many Rivers To Cross.”
Howard Keel’s six daring brothers go a-courtin’ six merry brides in gentlemanly fashion
If you want to start a fan club or write your favorite stars, address them at their studios (see page 70 for studio addresses) . — ED.
WARNER BROS. ANNOUNCE
jtUr jf y'df "
THE SPECIAL. SHOWINGS
t ’ ,/ ,J ft
BEGINNING CHRISTMAS OF
§
A PRECEDENT- SETTING MOTION PICTURE,
FROM THE RECORD-SETTING BEST-SELLER
. . . .THREE MILLION COPIES TO DATE! THE
MIGHTIEST STORY OF TRUTH AND TEMPTATION
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EVER TOLD— EVER WRITTEN — EVER PRODUCED!
m WRITTEN FOR THE SCREEN BY DIRECTED BY PRESENTED BY
WALTER HAMPDEN -LESSER SAMUELS. ASSOCIATE PRODUCER • VICTOR SAVILLE • WARNER BROS,
ORIGINAL MUSIC BY FRANZ WAXMAN
5
;
i
!
I;
The Wonderful Story of
three sailors
three girls
and Five
little
Orphans
in
trouble!
QENE NELSON
CORINNE CALVET
PAUL GILBERT
with
MARA CORDAY
.
So This Is Paris ♦ If You Were There
A Dame’s A Dame • Looking For Someone To Love
Wait ’Til Paris Sees Us • It’s Really Up To You
The Two Of Us • Three Bon Vivants ,71
I Can’t Do A Single (But I’ll Try)
CHARLES HOFfMAN • produced n ALHFRT J. COHFN • A UNIVtRSAL-INTFRNAIIONAL
"MISS UNIVERSE OF 1954" "MISS U. S. A. OF 1954"
CHRISTIANE MARTEL • MYRNA HANSEN
ANNOUNCING
THE WINNERS
cm
a Co
pec
tillo
Het
! He
In September PHOTOPLAY we invited you to
"Win a Present from a Star.” As the weeks
went by your response to this contest reached
the staggering figure of nearly 70,000 entries!
Lit
lies;
It was work, choosing the best last lines for
I Ms
our PHOTOPLAY — Universal-International lim- l;
erick — there were so many good ones! But the
special staff appointed to judge this contest
didn’t let a line go by — everyone received in- l!l
dividual attention. Every line was carefully con- *
sidered before the judges finally decided on w
the fifty lucky people with the best last lines!
|| yea
THE WINNERS ARE:
1. Rose Marie Reid swimsuit from Jeanne Crain:
Miss Sandra Hall, Sanford, Me.
PI:
SOU
Tiers
2. Lane Cedar Chest from Suzan Ball: Nancy Kuhn, Pi
Spokane, Wash. I #11
3. Original painting from Tony Curtis: Barbara Tv
June Fralick, Princeton, Ky. u
4. Sylvania Clock Radio from Lex Barker: E. H $i
Mayer, Pittsburgh, Pa. ilstn
5. Year’s supply Pond’s "Ever-So-Red” lipstick with
matching knit sweater-dress by Helen Whiting and
Stroock fleece coat by Ronette from Rhonda Flem-
ing: Miss E. O’Hara, Detroit, Mich.
6. Samsonite luggage from Susan Cabot: Mrs. Olin
C. Gordon, Eufaula, Ala.
7. Year’s supply Cutex “Cute Tomata” nail polish
with matching jacket and tapered pants by Cole of
California from Piper Laurie: Miss Irene Ann Fink,
Wadena, Minn.
8. Kaywoodie pipe from Race Gentry: Robert L.
Crump, Winterpock, Va.
9. Plaid sport shirt from Jeff Chandler: Arthur E.
Miller, San Bernardino, Calif.
10. Irish shillelagh from Rock Hudson: Timothy Mar-
quand, Cambridge, Mass.
11. Stetson hat from Audie Murphy: Lois Lane Rob-
inson, Aberdeen, S. Dakota.
12. Ronay calf handbag from Mamie Van Doren:
Mrs. Sidney Brody, Kew Garden Hills, N. Y.
13. Coro rhinestone brooch and earrings from Leslie
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Gaye: Helen M. Vail, Albuquerque, N. M.
14. Playtex foam pillows from Myrna Hansen: Miss
Susanne Martin, Pawtucket, R. I.
15. Ronson Crown table lighter from Richard Long:
Mrs. Ruth Turner, Fort Worth, Tex.
16. Honeydeb play shoes from Lori Nelson: Mrs. ,»
Elizabeth Ann Murphy, Grand Prairie, Tex.
17. "Call Me Madam” Decca album from Donald >.
O’Connor: Eusebe Gaspard, Westwego, La.
18. One dozen pairs of Cam-eo stockings from Kath- ..
leen Hughes: Beverly Michaud, Laramie, Wyo.
19. Woman’s Daniel wallet by Nash from Julia
Adams: Patsy Sue Taylor, Holdenville, Okla.
jRonson Adonis pocket lighter from John Agar:
ha Watkins, Bangor, Mich.
IRonson Pal lighter from Brett Halsey: Lillian
ler, Chicago, III.
“Magnificent Obsession" Decca album from
iara Rush: Mrs. Norma Hill, Blackfoot, Idaho.
Gift box of Breck hair treatment products from
a Corday: Maxine Dotson, Atlanta, Ga.
Decca album of Bing Crosby songs from Lou
ello: Mrs. S. J. Sommer, Buffalo, N. Y.
Helen Neushaefer carry-all kit from Ruth Hamp-
Helen Lancaster, Richmond, V a.
10
Coty compact from Dana Andrews: Mary Carter,
! anapolis, Ind.
'J
,| Lucien Lelong’s Sirocco perfume from Allison
jss: Molly Menashe, Portland, Ore.
11
IMax Factor's. “Gold Quartet” from Colleen Miller:
. Lorraine Kaufman, Seaside, Ore.
e
I Bourjois “Evening in Paris” gift box from Rex
. ;on: Miss Tommie Pritchard, Asheville, N. C.
Cheramy's “April Showers” perfume from
rge Nader: Vivienne M. Poss, Gordonsville, Va.
Lentheric's “Adam’s Rib” perfume from Dan
/ea: Kathryn Simpson, Garnett, Kansas.
Plaid overnight case containing Goody hair ac-
iories from Lynn Bari: Mrs. Susan Keepers,
erson, Ind.
Pacific Mills' “Harlequin" bath set from Bud
ott: E. E. Bangert, Sacramento, Calif.
Two Criterion belts from Gloria Grahame: Ce-
a Schramm, West Orange, N. J.
Six silk scarves by Baar & Beards from Gene
son: Sarah Spann, Cheyenne, Wyo.
1 Deltah pearl necklace from Ruth Roman-. Mrs.
L. Young, Kimball, Neb.
Three pairs of cotton shortie gloves by Dawn-
: from John Lund: Miss Elsie Rossman, Pitts-
gh. Pa.
Gray flannel suit by Faye Wagner from Janet
gh: Judy Householder, Fairview Park, Ohio.
DuBarry travel kit containing DuBarry beauty
iducts from Sara Shane: Miss N. June Ramsey,
ando, Fla.
Red orlon sweater set by Sidney Gould from
•inne Calvet: Mrs. Edwin Leet, Muncy, Pa.
Coronet black suede handbag from Mari Blan-
ird: Doris Williams, Hartford, Conn.
Shulton’s “Escapade” perfume from John
imfield: Shirley Ostrowski, Custer, Wis.
Two, Criterion belts from Kathleen Case: Becky
ith, Decatur, Ala.
. Three pairs of gloves by Dawnelle from Ludmilla
lerina: Mrs. Emily Lollis, Wewoka, Okla.
. Hatbox containing Campana beauty products
m Karen Kadler: Virginia Lee Frush, Hagers-
vn, Md.
. Gift kit of Helene Curtis hair products from
:a Gam: Helen S. Williams, Temple, Pa.
. Basket of Toni products from Mala Powers:
rbara Elkins, North Miami, Fla.
. Pair of men’s pigskin gloves by Alexette-Bacmo
im Chill Wills: Otto Davis, Waynesboro, Miss.
• Year’s supply of Lady Esther face powder & talc
im Gloria De Haven: Thelma L. Nesom, Clinton, La.
. Three men's silk ties from Sterling Hayden:
ra Lewis, San Pedro, Calif.
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7
THE
LET’S GO TO
MOVI ES
WITH JANET GRAVES
EXCELLENT WVERY GOOD //GOOD
^ FAIR
/i Star Is Born WARNERS; CINEMASCOPE, TECHNICO
V'V'V'V' Here’s a movie straight from the heart of si
business — and, most especially, of Hollywood. Judy Garl;
proves herself not only a supreme entertainer but a I
actress, as a minor band vocalist whose unique talents ;
discovered by a fading film idol. In this role, James Ma
gives a performance perfectly complementing Judy’s. Wl
she becomes a great new star — and his wife — his can
declines. Playing an egotistical drunkard, Mason dra
sympathy, without glamorizing the character; so Judy’s i
votion never seems foolish. The film alternates betwe
brilliant song numbers (the tops — “Born in a Trunl
and bitter or satirical glimpses of Hollywood life, with Ja
Carson scoring as a poisonous publicity man, Charles Bi
ford as an understanding producer. fam
,
Amusing byplay interrupts James’ roof-top talk with Ju
Carmen Jones 20th; cinemascope, de luxe coi
pWV' The vibrant melodies and famous people of Bize
opera “Carmen” reach the screen in a startling new gui
They’re transferred to America’s South (later, to Chicago
with an all-Negro cast presenting a story of dramatic foi
and musical fascination. Slender, beautiful Dorothy D
dridge makes Carmen a flashy and tragic figure, a girl v
wants to be free of any ties or obligations. A wartime facto
worker, she induces Harry Belafonte, an earnest you
soldier, to neglect his duty and finally to desert. Unlike I
two stars (accomplished singers, but not of operatic calibrt
Olga James does her own singing, as Harry’s gentle count
sweetheart. So does Pearl Bailey, in rousing rhythm nu
bers. And “The Toreador Song” becomes “Stand Up ai
Fight,” a ring champ’s chant of triumph. adi
Dorothy Dandridge knows the way to Harry Belafonte’s he
Phffft COLUIVM
kW Slight, light and smoothly done, this comedy of divoi
features several ingratiating performers. Judy Holliday
deft as ever, playing a radio-serial writer who’s inclined
dramatize her personal life. Teaming with her for the secoi
time, Jack Lemmon stands out as a fresh, appealing tyj
both laughable and likable. He’s Judy’s lawyer husbau
who agrees heartily when she insists on heading for Rei
Legally parted, both make a grim attempt to lead a g
single life. Jack’s would-be partner is pert Kim Novak, ei
more effective here than in her movie debut. Judy’s fir
target is Jack Carson, who clowns expertly as her
husband’s best friend, an allegedly suave playboy. You c;
guess the outcome, hut the route to it is hilarious. Locatii
shots play up the New York atmosphere. adi
Divorced, Judy and Jack Lemmon quarrel over her income l
MORE REVIEWS ON PAGE 11
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 92
FOR COMPLETE CASTS OF NEW FILMS SEE PAGE
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LAUGHING
.STOCR
During her night-club stand at the Sands
Hotel in Las Vegas, Tallulah Bankhead
flipped :
“My hook has passed the million mark in
sales. Now you know why the Kinsey report
didn't sell too well.”
Overheard at the Moeambo: “He's really
a very important person — when lie's sober.”
Pat Crowley saw this sign in a San An-
tonio. Texas, bar window:
“Yankee Spoken Here.”
Old Hollywood Proverb: When a movie
queen tells you she's found an ideal place
for her marriage, >he usually means the
front page.
A conceited foreign profile king has a
new sandwich named lor him at the Famous
Restaurant— the "French Drip.
Hastily scribbled sign in a Fairfax. Ave.
delicatessen window:
“Jack Benny Is Eating Lunch in Here.
Overheard at Lucey's: “She’s not exactly
the white-collar-girl type. More the white-
mink-collar-girl type."
Joan Fontaine said it about a foreign
beauty with whom she recently worked:
"She can make herself understood in any
language without opening her mouth.
A spoiled movie brat was about to cele-
brate his birthday and his tutor went to a
toy store to buy him a present. "What kind
of a toy would you like? asked the sales-
man.
“Oh, just some little something that he
can hurt himself on easily, was the reply.
“A Hollywood star,” says Sammy Kaye,
“is a guy with his footprints in cement and
liis wife in court.”
Airline stewardess with a high sense of
humor as her plane Hew over Las Vegas:
“Ladies and gentlemen, please fasten
your money belts."
Jack Carson never gets the girls on the
screen, hut he can still joke about it. On
his night-club tours, he introduces himself
with :
“You probably know me as the guy who
can't get the girl. Well, you'll be surprised
to hear that a girl was pounding on my
door at 4 a.m. this morning. And you know
something — I wouldn t let her out.
Overheard at the Moeambo:
“He’s such a suspicious type he makes
his own shadow walk in front of him.
An indignant starlet rushed into fur de-
signer A1 Teitelbaum’s Beverly Hills salon:
“I’m checking on my boy friend," she said.
“Tell me, is there any such thing as a bald
mink?”
“Never heard of it,” shrugged Al.
"I'll fix him,” roared the starlet. “I’ll
throw that suede coat he gave me right
back in his face.”
10
*See Erskine Johnson's " Hollywood Reel”
on your local TV station
CONTINUED
IS/I
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3si o/ the Wave m-c-m
'V By turns amusing, affecting and almost unbearably
e, this is a first-rate picture of peacetime heroism in two
es, of cooperation and friction between Englishmen and
^ricans. The U. S. Navy sends officer-scientist Gene Kelly,
i seamen Jeff Richards and Fredd Wayne, to a desolate
tish island where the British Navy is conducting danger-
experiments with a new underwater explosive. At once,
igonisms build up. Officer John Justin resents Kelly,
’s replacing Justin’s revered superior, killed while testing
new type of torpedo. And in the seamen’s quarters there’s
uckle-arousing brawl between cockney Sidney James and
who married James’ girl friend. The talk is all wonder-
Y real, making you feel that you actually know each of
e men. family
Id Wayne tries to pacify Sidney James and Jeff Richards
e Country Girl PARAMOUNT
V Intelligent acting and a strong theme give interest to
omewhat heavy-footed version of a Broadway hit. Bing
sby has a role completely offbeat for him — a has-been
sical comedy star, ruined by his addiction to the bottle,
den by self-pity, he has dragged his doggedly loyal wife
■ poverty with him. Grace Kelly also tries something ut-
y different with this part, discarding glamour and giv-
a performance that is well thought out but not always
ntaneous. It’s William Holden who comes off best, as a
;e director who offers Bing a comeback chance. Misled by
alcoholic’s cunning lies, Holden gets emotionally in-
■ed with the couple. Bing does an honest job on a tough
gnment; but, with no clear picture of the man’s former
, the character remains unlovable. adult
ce realizes that Bing is afraid to return to the stage
ick WidotV 20th; cinemascope, de luxe color
/ A whodunit, set against the glittering backgrounds of
legendary New York City, show-cases several arresting
;onalities. The murder victim is Peggy Ann Garner, an
arently naive small-town girl who brings her writing am-
ms to the big town. Chief suspect is Van Heflin, a stage
Jucer who meets Peggy while his beloved wife (Gene
ney) is out of town. An ardent meddler in the affair is
ger Rogers, spectacularly costumed and sharp of tongue
in arrogant stage star with a meek husband (Reginald
diner). And the professional meddler is George Raft, a
ter-of-fact city detective. Dark-haired, deep-voiced Vir-
a Leith makes a quick impression as the dead girl’s
irtment-mate. The story’s material is often sordid, but
ted tactfully, with crackling dialogue. adult
» deadly females meet: Ginger Rogers, Peggy Ann Garner
P
IE REVIEWS ON PAGE 12
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 92
FOR COMPLETE CASTS OF NEW FILMS SEE PAGE 17
11
N/ION/I ES
Continued from page 11
P
12
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Beau Brummell m-c-m, technicolor
V'V'V' Two of Hollywood's handsomest
stars, Stewart Granger and Elizabeth Tay-
lor. are set like jewels in some of the most
luxurious costumes and exquisite back-
grounds ever seen in a movie. Granger, in
dashing style, plays the famous English
dandy of the early 19th Century. A nobody
to start with, living precariously by his
wits, he becomes the closest friend of the
Prince of Wales and the age’s chief arbiter
of male fashion. On the romantic side, he’s
less successful: he can’t induce the high-
born Liz to give up security for love. Peter
Ustinov (Nero in “Quo Vadis”) is excel-
lent as the monarch-to-be, fat, pompous,
pathetic, but eventually a figure of dignity.
Robert Morley also arouses sympathy in a
brief scene as that old villain of American
history. George III. The picture was filmed
entirely in England. family
Drum Beat warners; cinemascope,
YVARNERCOLOR
VVV Alan Ladd cuts his usual virile fig-
ure as an Indian-fighter of the old Oregon
frontier, suddenly retired from business by
presidential order. The ex-General Grant
makes Alan a peace commissioner to sub-
due— without' guns — the rebels among the
Modoc tribe. As the fearsome Captain
Jack. Charles Bronson is a colorful ad-
versary. Naturally. Grant's orders prove
difficult to carry out. and soon there’s plen-
ty of gunplay. Audrey Dalton as the win-
some heroine has little to do with the ac-
tion, but Marisa Pavan, a peace-loving
Modoc maiden, does play a vital role in
the final showdown. The vigorous battles
and chases take place against wild, splen-
did scenery. family
Unchained bartlett
v'V'V' Imaginative casting, an earnest ap-
proach and authentic settings create a
refreshing sort of prison movie. It was shot
at Chino, California, where an honor
prison for men makes an effort to rehabili-
tate convicts, instead of merely punishing
them. In an overdue film comeback. Ches-
ter Morris is the humane but firm warden.
Football slar Elroy (Crazylegs) Hirsch
does an admirable straight-acting job as a
convict who instinctively resists authority,
though he isn't a professional crook. Sing-
ers Todd Duncan and Johnny Johnston
are equally effective as fellow convicts. A
murderer. Duncan has learned at Chino a
new approach to life. Johnston is an em-
bittered ex-pianist, who turned to crime
because of a crippled hand. This is primar-
ily a man’s picture, but Barbara Hale has
some touching scenes as Elroy’s wife. An
escape plot builds up excitement toward
the finish, though Chino has no high wall,
no patrols of armed guards. family
The Bob Mathias Story allied artists
v'V'V' Told in semi-documentary but warm-
ly emotional style, this entertaining though
unpretentious movie shows how a Cali-
fornia boy twice won the Decathlon at the
Olympics. Bob and Melba Mathias play
themselves, and a thoroughly appealing
young couple they are, surprisingly a
ease before the cameras. The course o
their love runs rough and smooth as Bo
trains for the varied, rigorous track event
of the Decathlon. Ward Bond is gruff an-
likable as Bob’s high-school coach. In th
climaxes, newsreel shots are cleverly i:
tercut with re-enacted scenes, to dramat:
effect. i
The Beachcomber rank., u.a.; technicolc
Track of the Cat
WARNERS; CINEMA
SCOPE, WARNERCOLO
V'V'V' A British-made comedy-melodram;
set in gorgeous tropic locales, recalls t
general outline of “The African Queen.]
Robert Newton does a robust, broa
stroked portrayal of the title character
Son of an aristocratic English family, her
the local drunk and trouble-maker on
British-owned island in the Indian Oceaij
Glynis Johns, amusingly prim (though to
alluring for the role), is a fearless lad
missionary. To her, Newton is at first be
yond the pale. But a quirk of circum
stances suddenly convinces her that h
can be reformed, and her campaign to thi
end is both funny and touching. A choler
outbreak and native treachery provide ai
exciting finish. famil
W Robert Mitchum’s arresting perform
ance is the chief attraction of a cloudj
film with occasional flashes of quality. 0i|
a remote mountain ranch, Mitchum is thi
bully of the family, ridiculing his scholar
ly brother (William Hopper), old-maic
sister (Teresa Wright) and timid ki<
brother (Tab Hunter). Father Phili]
Tonge is a rather hammy drunk, and moth
er Beulah Bondi is an old shrew. A change
in family relationships comes about during
the hunt for a mysteriously symbolic pan
ther that is preying on the cattle. Diant
Lynn is a piquant heroine, waiting foi
Tab to get up some spirit. Though there’s
significant camerawork, most of the scenes
have a deadening, stage-like quality. The
players seem to be posing on a set — nol
living on a mountain ranch. familt
Three Ring Circus
WALLIS, paramount;
VISTAVISION, TECHNICOLOI
V'V The big top proves an appropriate
setting for the antics of Martin and Lewis
but the boys don’t rouse quite their usual
quota of laughs. Though nobody expects
their pictures to be strong on plot, this
one follows a puzzling course, wandering
into various blind alleys, then blithely
starting all over again. Dean and Jerry.
ex-GI’s, join a circus because Jerry wants
to be a lion-tamer. One try, and he prompt-
ly decides he’d rather be a clown. DeaD
gets the short end of the plot, with a role
that switches backward and forward be-
tween loyal pal and selfish heel. Feuding
off and on with Joanne Dru, owner of the
circus, Dean romances dazzling Zsa Zsa
Gabor, conceited aerialist. Jerry’s youthful
fans should be delighted by the scene at
the finish, with Jerry — now a triumphant
clown — and a sad little girl (Sandy Desch-
er) at a children’s home. family
Continued on page 15
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Terry Moore caused a stir when
she preemed with Jacques Sernas
BY EDITH GWVNN
Shelley’s skirt stole the show at “Star” premiere
the preem of “A Star Is Born” was an
all-time glamour-great night. What a
roar Judy Garland got from the crowd
when she entered the Pantages Theatre
on the arm of Sid Luft. Clark Gable got
almost as loud a cheer as he arrived
with Kay Spreckels. Amongst the mad
doings in the lobby, I spotted Debbie
Reynolds with Eddie’s pal Joey Fore-
man; Marlene Dietrich in a stunning
Dior; Kim Novak and Mamie Van Dor-
en in slinky formals; Rosie Clooney
and Jose Ferrer; Karen Sharpe with
Joan Smith; Terry Moore and hand-
some French actor Jacques Sernas; the
Gary Coopers, Alan Ladds, Jerry Lew-
ises, Dean and Jean Martin; Doris Day
and Marty Melcher; the Champions
and so many more. Lowest cut dress
was on Liz Taylor — a halter-necked
fluffy pink gown trimmed with beading.
The widest-skirted gown was Shelley
Winters’. Shelley's gorgeous white gown
was so full the skirt covered almost
three seats when she took her place in
the theatre (Yep. the skirt made room
for two other customers!). Later, Jack
Warner took over Cocoanut Grove, filled
it with seven hundred famous guests in
honor of Judy. Choking with sentiment,
Judy said, “This is my happiest night.”
The Hartford Theatre opening was a
dilly — with hundreds of stars present to
see Helen Hayes in the first play pre-J
sented, “What Every Woman Knows.’!]
It’s the only theatre in the U.S. that
features a bar and restaurant. And a
few days later Joan Crawford tossed a |
bang-up party for star Helen.
The only star of the delightful “Sa-j
brina” who could be at the opening!
was Humphrey Bogart who arrived with j
Lauren Bacall and posed and posed fori
flash-bulbers. With Bill Holden away]
and Audrey Hepburn honeymooning in]
Europe, Paramount gave lovely Martha!
Hyer, Audrey’s rival in the film, the]
full-glamour treatment. Martha had a
cape stole fashioned of 1500 baby]
orchids flown especially from Honolulu »
— she was really a knockout.
Nicest party of the month was the
gay Debbie Reynolds-Eddie Fisher en-3
gagement party given by Eddie Cantor
for his protege Eddie. Over four hun-
dred delighted well-wishers turned out
to congratulate the happy pair and ad-
mire Debbie’s 7 carat ring from Eddie.
Included in the throng were much-in-
love Pier Angeli and her Vic Damone.
Among the many to congratulate Debbie and Eddie were Pier and Vic
HOLLYWOOD
PARTY LINE
14
N/l 0\/ 1 E S
Continued from page 12
This Is My Love rko, pathe color
V'V Suspense is the chief aim of this story
about tangled emotions, and it does achieve
an ample measure. But its cast plays as
unpleasant a group of people as you’ve
met on the screen. Linda Darnell is a
j spinster whose coldness melts when she
]| meets debonair Rick Jason. Then she finds
that he and her gentler sister (Faith
Domergue) have fallen in love. Their situa-
! tion seems hopeless, since Faith is mar-
11 ried to Dan Duryea, once a famed dancer
but now a neurotic cripple. There’s a hint
of murder in this setup, and Linda plots a
j crime that she believes will return Rick
to her side. The locale is Glendale, Cali-
fornia; most scenes are set either in the
unhappy home or in Duryea’s restaurant,
operated by the sisters. adult
The Black Knight Columbia, technicolor
VV Now it's Alan Ladd who returns to the
bold old days of King Arthur, as a gallant
commoner who dons black armor to play
mysterious avenger. Arthur’s realm is
threatened by a secret alliance of Cornish-
men and Saracens. In sudden raids, they
burn castles, commit murder and mayhem.
Among the victims is the mother of lus-
cious Patricia Medina, Alan’s ladylove, in
! whose household Alan served as armorer.
The action has an old-fashioned abandon,
i except when it slows down for spectacle.
But there are some noble castles and
! spacious countryside (shot in England
and Spain). family
Quest for the Lost City rko, color
1 W This modest, often fascinating travel-
adventure film was shot by Dana and
Ginger Lamb, a couple who carry the
do-it-yourself motto to amazing lengths.
Bound for the wilds of Yucatan, seeking
ruins of the ancient Aztec civilization, they
live entirely off the land, not only hunting
and gathering their own food, but making
soap and fanning leather. Their discovery
of the lost city is a real thrill. family
Twist of Fate u.a.
VV A highly involved tale of intrigue
gives Ginger Rogers a glamorous but dubi-
ous role. She’s an ex-showgirl living in
luxury on the Riviera (where the picture
was made), as the fiancee of Stanley Bak-
er. Supposedly a respectable businessman,
lie’s actually a counterfeit king. When
Ginger falls in love with a young artist
(Jacques Bergerac, her offscreen hus-
band), violence shadows the romance. The
artist is broad-minded about Ginger’s way
of life, but Baker plays rough. adult
Passion rko, technicolor
VV Title to the contrary, this turns out
to be a pleasant Western, laid in Spanish
California. As a young rancher. Cornel
Wilde is out to find and kill the men who
murdered his bride (Yvonne DeCarlo). In
his campaign of vengeance, he’s aided by
his tomboy sister-in-law (also played by
Yvonne). Knives and bullets fly thick and
fast, and there’s plenty of cross-country
galloping. family
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No longer a lonesome cowboy is Guy Madison
BV SIDNEY SKOLSKV
THAT’S HOLLYWOOD FOR YOU
i don’t think Marilyn Monroe’s box-
office will be hurt by anything but bad
pictures. You'll notice I made it plural
. . . In a popularity poll, Marlon Brando
and Jeff Hunter pulled up even . . .
Terry Moore is more dangerous when
she’s quiet. It’s like waiting for a time
bomb to explode . . . No matter what
happens anywhere else, a new crop of
starlets appear who look better than
last season’s . . . Elizabeth Taylor
doesn’t believe she is as beautiful as
you think she is. Honest! . . . I'm in a
hurry to see “Guys and Dolls” on the
screen. More anxious about seeing this
one than even “Oklahoma!” and “The
King and I” . . . The movies are get-
ting away from the idea that a pretty
girl can be made unattractive by a pair
of eyeglasses ... I don’t care what
anyone says, I prefer Shelley Winters
talking to silent. Then Shelley is na-
ural, and she’ll say: “The trouble with
most of the eligible men is that they’re
married.” ... In Hollywood, claims
Tom Jenk, even a man’s best friend is
his enemy.
Grace Kelly’s beautiful, but I feel
she’s holding back and is seldom
natural . . . Mamie Van Doren is sex-
iest when she peers at you over the
rim of a wine glass . . . Each time I
see “On the Waterfront” (three times
to date), the more entranced I become
with Eva Marie Saint.
I still prefer Katharine when it
comes to a Hepburn, but I’ll admit
Audrey is growing on me . . . Arlene
Dahl and Fernando Lamas are so ro-
mantic you wouldn’t believe they’re
married ... I’d think I was seeing
things if I saw Jack Webb excited on
the screen . . . Charlotte Austin tells
me she takes a deep breath before go-
ing into a scene. “It helps,” says Char-
lotte . . . I’m pleased with the recent
success of Anne Francis. Been waiting
for it for some years . . . John Wayne
never has a leading lady on-screen who
even slightly resembles his off-screen
leading lady . . . Can you remember all
the way back (just a few years ago)
when people were saying William
Holden didn’t have sex appeal? . . .
No one was surprised by the Tyrone
Power-Linda Christian separation an-
nouncement . . . Everyone was with the
sudden Guy Madison-Sheila Connolly
merger ... I adore Judy Holliday, even
when I don’t like the movie she’s in.
This statement can be made about few
performers . . . Groucho Marx says,
“Half of Hollywood is trying to find
out how the other half gets away with
it.”
There’s not a light comic around who
has the timing of Cary Grant. Jack
Lemmon is the best and most promis-
ing of the new crop ... If you believe
the movies, all actresses look beautiful
when they get out of bed in the morn-
ing. Being honest, I must tell you all
actresses spend an hour in the make-up
department before getting into bed to
get up . . . Rock Hudson’s comment
about making a movie in Ireland: “It’s
like a Hollywood set where all the
characters are played by Barry Fitz-
gerald.”
Gina Lollobrigida doesn’t look like
an Italian actress when she’s in the
United States . . . My idea of a real
heel is a gtiy who’d try to do Ann Blyth
dirt — even in a movie ... I don’t be-
lieve Betty Hutton has retired from
show business, although she read the
line with sincerity . . . Charles Laugh-
ton told me that an actor who can put
over a subtle emotion with his derriere
facing the camera knows his craft and
is a credit to his profession . . . My
favorite character Mike Curtiz told an
interviewer: “Don’t say anything
against me, unless it’s complimentary.”
And That’s Hollywood for You.
Charlotte Austin holds her breath for Sid
Anne Francis is a lady with a bright future
Jeff Hunter wins the fans’ complete approval
16
Casts of Current Pictures
BEACHCOMBER, THE—XJ.A. Directed by Muriel
Box: Martha, Glynis Johns; Ted, Robert Newton;
Ezvart Gray, Donald Sinden; Owen, Paul Rogers.
BEAU BRUMMELL— M-G-M. Directed by Curtis
Bernhardt: Beau Brummell, Stewart Granger; Lady
Patricia, Elizabeth Taylor; Prince of Wales, Peter
Ustinov; King George 111, Robert Morley; Lord
Erwin Mercer, James Donald; Mortimer , James
Hayter; Mrs. Fitzherbert, Rosemary Harris; Wil-
liam Pitt, Paul Rogers; Lord Byron, Noel Willman.
BLACK KNIGHT, THE — Columbia. Directed by
il'ay Garnett: John, Alan Ladd; Linet, Patricia Me-
dina; Sir Ontzlake, Andre Morell; Earl of Yeonilr
Harry Andrews; Sir Palamides, Peter Cushing;
King Arthur. Anthony Bushell; Major Domo, Lau-
rence Naismith; King Mark, Patrick Throughton.
BLACK WIDOW — 20th. Directed by Nunnally
Johnson: Lottie, Ginger Rogers: Peter, Van Heflin;
Iris, Gene Tierney; Detective Bruce, George Raft;
Nanny Ordway, Peggy Ann Garner; Brian, Reginald
Gardiner; Claire Amberly, Virginia Leith; Ling,
Otto Kruger; Lucia, Cathleen Nesbitt; John, Skip
Homeier.
BOB MATHIAS STORY, THE— A.A. Directed by
Francis D. Lyon: Bob Mathias, Bob Mathias; Melba
Mathias, Melba Mathias; Coach Jackson, Ward
Bond; Dr. Mathias, Howard Petrie; Mrs. Mathias,
Ann Doran; Pat Mathias, Diane Jergens.
CARMEN JONES — 20th. Directed by Otto Prem-
inger: Carmen, Dorothy Dandridge; Joe, Harry Bela-
fonte; Cindy Lou, Olga James; Frankie, Pearl Bailey;
Myrt, Diahann Carroll; Rum, Roy Glenn; Dink, Nick
Stewart; Husky, Joe Adams; Sgt. Brown, Broc Pe-
ters. Voices: Le Verne Hutcherson, Marilynn Horne,
Marvin Hayes.
CREST OF THE WAVE— M-G-M. Directed by John
ind Roy Boulting: Lieutenant Bradville (U.S. Navy),
Gene Kelly; Lieutenant Wharton, John Justin; Lofty
Turner, Bernard Lee; Butxh Clelland (U.S. Navy),
Teff Richards; Charlie Badger, Sidney James; P. O.
Herbert, Patric Doonan; Sprog Suns, Ray Jackson;
Shorty Karminsky (U.S. Navy), Fredd Wayne.
DRUM BEAT — Warners. Directed by Delmer
Daves: Johnny Mackay, Alan Ladd; Nancy Meek,
\udrey Dalton; Toby, Marisa Pavan; Bill Satter-
white, Robert Keith; Captain Jack, Charles Bronson;
General Canby, Warner Anderson.
PASSION — RKO. Directed by Allan Dwan: Juan
Obreon, Cornel Wilde; Tanya Rosa, Yvonne De-
Carlo; Rodriguez, Raymond Burr; Castro, Lon
Thaney.
PHFFFT — Columbia. Directed by Mark Robson:
Nina Tracy, Judy Holliday; Robert Tracy, Jack Lem-
mon; Charlie Nelson, Jack Carson; Janis, Kim
iNovak; Mrs. Chapman, Luella Gear; Dr. Van Kessel,
Donald Randolph; Rick Vidal, Donald Curtis.
QUEST FOR THE LOST CITY— RKO. Docu-
mentary, featuring Dana and Ginger Lamb.
ROMEO AND JULIET— TJ. A. Directed by Renato
Castellani: Romeo, Laurence Harvey; Juliet, Susan
Shentall; The Nurse, Flora Robson; Friar Laurence,
Mervyn Johns; Benvolio, Bill Travers; Tybalt, Enzo
Fiermonte: Mercutio, Aldo Zollo; Prince of Verona,
iGiovanni Rota; Capulet, Sebastian Cabot; Lady Capu-
i| let, Lydia Sherwood; Paris, Norman Wooland; Mon-
tague, Giulio Garbinetti; Chorus, John Gielgud.
STAR IS BORN, A — Warners. Directed by George
Cukor: Esther Blodgett, Judy Garland; Norman
Maine, Tames Mason; Libby, Jack Carson; Oliver
Niles, Charles Bickford; Danny McGuire, Tom Noo-
nan; Starlet, Lucy Marlow; Susan, Amanda Blake.
THIS IS MY LOVE— RKO. Directed by Stuart
Heisler: Vida, Linda Darnell; Glenn, Rick Jason;
Murray. Dan Duryea; Evelyn, Faith Domergue;
Eddie, Hal Baylor; Connie Russell, Connie Russell;
THREE RING CIRCUS — Paramount. Directed by
Joseph Pevney: Pete Nelson, Dean Martin; Jerry
Hotchkiss, Jerry Lewis; Jill Brent, Joanne Dru;
Saadia, Zsa Zsa Gabor; Sam Morley, Wallace Ford;
\Schletz, Sig Ruman; Puffo, Gene Sheldon; Timmy,
Nick Cravat; Bearded Lady, Elsa Lanchester.
TRACK OF THE CAT — Warners. Directed by Wil-
liam A. Wellman: Curt, Robert Mitohum; Grace,
Teresa Wright; Gwen, Diana Lynn; Harold, Tab
Hunter; Ma Bridges, Beulah Bondi; Pa Bridges,
Philip Tonge; Arthur , William Hopper; Joe Sam,
Carl Switzer.
TWIST OF FATE — LT.A. Directed by David Miller:
lohnny Victor, Ginger Rogers; Emil Landosh, Herb-
ert Lorn; Louis Galt, Stanley Baker; Pierre Clement,
Jacques Bergerac; Marie Galt, Margaret Rawlings.
UNCHAINED — Bartlett. Directed by Hall Bartlett:
Steve Davitt, Elroy Hirsch; Mary Davitt, Barbara
Hale; Kenyon J. Scudder, Chester 'Morris; Bill Hozv-
ard, Todd Duncan; Eddie Garrity, Johnny Johnston;
Elaine, Peggy Knudsen; Joe Ravens. Jerry Paris;
Len Haskins, John Qualen; Sandern, Bill Kennedy;
Jerry Hakara, Henry Nakamura; Sally Haskins,
Kathryn Grant; Win Davitt, Tim Considine; Mrs.
Scudder, Rita Johnson.
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17
Shirley listens. An unexpected visit — and the show went on
THE HOLLYWOOD STORY
BY SHIRLEY THOMAS
NBC’s Hollywood Correspondent
“the show must go on.” This is a fine
sentiment, a noble tradition. Newcom-
ers to the entertainment world learn
the words quickly, repeat them glibly.
But there comes a time when the show
must really go on, and then they dis-
cover that the magic phrase isn’t
enough. The words are meaningless un-
less you have the courage or faith to
bring them to life.
The beautiful young girl sitting in
her dressing room realized this as she
repeated the five famous words over
and over, hoping they would work a
miracle. Without one, she was finished.
She couldn’t do it. She knew if she
asked for a postponement, a cancella-
tion, the people on the set would hire
someone else for the role. She couldn’t
blame them. They couldn’t hold up a
big production even if her grandfather
had died.
Fresh tears came to her eyes as she
thought of him. Her grandfather had
been friend, relative and counselor to
their tight-knit family group. His fa-
vorite grandchild, she had been at his
bedside during those last few hours,
and when he had passed away at mid-
night, she had broken down.
Overtired, emotionally drained, she
could not sleep, and cried for hours.
When the alarm clock rang at 6:30,
she had managed to get less than an
hour’s sleep. What was to have been
the bright new morning of her big day
now promised to be one of failure.
Until now the girl had had a meas-
ure of success in juvenile roles and, at
last, she had won a test opposite Vic-
ture Mature for the lead in his next
picture. This was opportunity in capi-
tal letters. When she had arrived on
the set, everyone had been most help-
ful. She had managed to get through
the first rehearsal, but then the di-
rector started changing lines and bits
of business. Her mind was too fuzzy
to adjust rapidly and she made numer-
ous awkward, embarrassing blunders.
She saw the director and actors
exchange looks that indicated their
disappointment. Finally after more re-
hearsing, the director said he guessed
they were as ready as they would
ever be. While the crew lit the set,
she had returned to her dressing room
with the strong feeling she was going
to fail. Her brain was confused by
old lines, new lines — most of all by
the sickening thought that she was go-
ing to slip on the first step of the
ladder of fame.
The girl could not help asking her-
self if her steady climb to this morn-
ing’s opportunity was to prove futile in
a single screen test! Although her first
film effort had been left on the cutting
room floor, she had been only eleven
then. The years that followed had seen
measured improvement in her acting
ability, rapid progress upward. She
had successfully played radio and
stage roles, but she felt motion pic-
tures to be her special favorite. Usually
the young actress was alert and easily
able to memorize a script in only a
few hours of study. Today, however,
the real events of her own life seemed
too powerful to free her for the
dramatic role before the camera.
Then it happened. A young actress
and star who was playing in one of the
big important movies on the lot visited
the set. The star was a long-time
friend of the girl who was to be tested ;
she knew what nervous tension exists
at a moment like this, but she had faith
in her friend. She was sp confident
that her friend was going to make good,
she had brought the head of the studio
on the set with her to watch the test.
The frightened girl, suddenly buoyed
up by the unquestioning, unwavering
faith of her friend, snapped out of her
doldrums. Responding to the confi-
dence of her friend, she stepped be-
fore the camera with the poise and
assurance of a true professional. She
went through the test, through the new
lines without a flaw. She got the job,
which was the steppingstone to a
series of top star parts. This is why
Terry Moore will never forget the day
Janet Leigh came a-calling.
«*
18
Listen to Shirley Thomas from Hollywood on NBC Radio in the Pacific coast area at 5:30 p.m., PST Sundays. Also to Shirley Thomas Reports on Weekend,
3-5 p.m., EST Sundays, over NBC Radio. Consult your local newspaper for time and station.
These are Beth Anderson’s hands. She soaked them in detergents. Only the right hand was
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After every soaking, Jergens Lotion was
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The results astounded everybody. In
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Many other lotions were tested the same
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The famous Jergens Lotion formula has
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Today you’ll find Jergens a heavier,
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I Mo u£>Kd0L
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Now, after using it for months and months,
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WOMEN EVERYWHERE love Camay with cold cream-
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Camay with cold cream will leave it feeling
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fragrance. There’s no finer beauty soap made!
NOW MORE THAN EVER
SOAR OF BEAUTIFUL WOMEN
A NEW
ROMEO AND JULIET
As the world’s most famous lovers. Susan Shentall and Laurence Harvey are radiant with youth
• Shakespeare’s “Romeo and Juliet” is a story of young love, yet the roles have
usually been played by long-established stars. Now two youthful newcomers
bring the classic romance to heart-catching life. Laurence Harvey (twenty-six,
seen in “King Richard and the Crusaders”) is the gay blade sobered by his first
serious love affair. And Susan Shentall (nineteen, a secretary when she was cast
in the film) is a captivating Juliet, turning the well-known balcony scene into
something utterly fresh and delightful. Shot in Italy for U.A. release, the drama
of lovers betrayed by their families’ bitter feud is a Technicolor treat to the
eyes as well as the emotions, with rich costumes and mellow, authentic settings.
21
Liz Is In "The Last Time I Saw Paris"
There’ll be standing room only if the furniture Liz
Taylor and Mike Wilding ordered for their new home
doesn’t arrive in time for their New Year’s party!
Linda Christian is in "Athena"
It’s the end of the line for exotic Linda Christian
and Ty Power, who rang out the old year with the
announcement that their five-year marriage is ended
INSIDE STUFF
New Year Eves: “Camping out” in
their beautiful new house didn’t pre-
vent the Michael Wildings from plan-
ning a gay and gala party to greet
the new year. They finally sold their
old homestead, completely furnished,
“Because,” says Liz, “everything was
made to order arid wouldn’t fit in any
other house.” Until their new stuff is
installed, they’re getting by beautifully
with a bed, icebox and stove! . . . And
Elaine Stewart is house-happy too!
Tired of apartment life, the brooding
brunette spends spare time searching
for a “perfect” house to buy. Necessary
requisite: spare room to be converted
to library for medicine-minded beauty’s
research work. . . . Career trouble, it
seems, has separated the Tyrone
Powers. But Hollywood can’t help re-
membering that Ty had always en-
couraged Linda Christian ih her desire
to continue as an actress — had even
planned to produce a picture in which
he and Linda would be the co-stars. . . .
Back in Hollywood, following unfortu-
nate eviction from Brazilian hotel, Ava
Gardner’s Nevada divorce papers are
still ready and waiting, but the luscious
looker shrugs an indifferent answer to
the sixty-four-dollar question. . . . Piper
Laurie’s New Year’s present makes a
mighty pretty package. Her singing
tests for “Third Girl from the Right”
are so sex-sational, U-I gave her permis-
sion to make commercial recordings!
22
Piper Is next In "Smoke Signal"
It’s a happy New Year for Piper Laurie. As a re-
sult of those surprise tests for her forthcoming film.
Piper will be making records in ’55 — as a singer
CAL YORK’S
GOSSIP OF HOLLYWOOD
Behind the Scenes: Here’s an untold Ava's currently in
story about Bing Crosby that reveals "The Barefoot contessa’
his other side. For his highly dra-
matic role in “The Country Girl,”
there’s a scene where he confesses how
he mistreated his wife. The line read,
“I lied to her, oh, how I lied!” But in
each “take” Bing cried out “I lied to
her, oh God how I lied!” Director
Seaton gently explained censorship
prevented using the Lord’s name, but
Bing got too (Continued on page 77)
Elaine was last in "Brlgadoon"
It’s a hobby — not a hubby — that has
Elaine Stewart looking for a house —
with extra room for her library work!
Still a lady of mystery, Ava Gardner,
back in Hollywood, just shrugs shoulders
when asked about divorce, from Frankie
'EVIL
Whatever other things Brando may be,
he’s always interesting. Even when he’s
driving his friends crazy with his tricks
•7 . g
IS M
Reformed? A changed man? Not on your
life ! According to these character references,
Brando hasn’t changed a bit — underneath
BY JANE CORWIN
Marlon Brando
is in
" Desiree
Brando has a way with kids. Joe Conepo, Jr.,
is son of a stevedore who worked in “gang”
in New Jersey where “W at er front” was filmed
Lately, Marlon’s surprising Hollywood with
his conservative grooming. But his actions
still prove clothes don’t make this man!
• Marlon Brando spoke into the telephone with intensity, but
hardly above a whisper.
“But I know something is wrong with the line,” he said earnestly.
The grin spreading over his face he did not lei reflect in his voice.
“Operator, please check again.”
On the other end of the line Charlotte Austin, pretty little 20th
Century-Fox actress, picked up the telephone and heard the operator
saying, “It seems all right to me.”
“What,” demanded Charlotte, “is going on here?”
“Just checking the line,” the operator said, and there was a click
as she went off the line.
Then Charlotte heard Marlon’s voice, deep and resonant, saying,
“Charlotte? Just called to see if you are ( Continued on page 67)
To studio cop, people who work with him on the set,
Brando is a “regular guy.” Co-star Jean Simmons
calls him, “the most exciting actor there is today’
Debbie Reynolds and Eddie Fisher. She's in " Athena
A WONDERFUL THING HAPPENED TODAY
"We just kept grinning
at each other Like two idiots What a way
to start a romance. And what
a romance it turned out to be!
26
Deb’s friends scented a romance when Those who saw her meeting with Ed- Their romance was slow getting start-
she shed date line, began appearing die in N. Y. knew that what they felt ed. It took them three years to get
with friend of Eddie’s in his absence for each other was serious, important together after their first meeting
‘We ivere seeing a lot of each other,”
admits Deb. “You sort of get the hab-
it. and suddenly, you like it real well ”
With her mother. Deb knows what she
wants out of life — and one thing is
a marriage as solid as her parents’
Deb and Eddie, here at tv rehearsal
with Danny Kaye, will settle any ca-
reer problems before wedding date
BY PHILLIP CHAPMAN
• Debbie Reynolds heard the shrill ring of the old
alarm clock on the small night table next to her bed.
She opened one eye slightly, reached over and pushed
down the alarm stop, then turned over in her bed,
promising herself, “Only one more minute, old girl,
then you gotta get up.”
Which is just about the way every morning began
for Debbie, until Mom came up and vocally shoved
her out of bed. And as far as she knew, today was
going to be like any other day. After breakfast, she’d
drive her salmon and cream Pontiac to the studio,
take a dancing lesson until noon, eat a light lunch
and work all afternoon on a routine for “Athena.”
Supper would be shared as usual with Mom and Pop,
and since she had the evening free, maybe Mom
would hem her red ballerina skirt. All in all, a nice
pleasant day, but nothing out of the ordinary. . . .
What Debbie didn’t know, or she might have flown
out of bed that lovely May morning, was that today
was to be a very special day — perhaps the most im-
portant day in her whole life. For today she was
destined to make a date with love. That sunny morn-
ing as she drove to the studio, she had not even an
inkling of his name. Six weeks later, a love-starved
world was to thrill over her new-found happiness
and her love story was to be called “the sweetest
young romance of the year.”
It might be said that Debbie’s and Eddie’s romance
began three years ago at the Walter Reed Army
Hospital in Washington, D. C., where they both did
a show and where they first met. It might also be
said that their romance was ( Continued on page 71 )
27
A blind boy’s courage,
>
a welcome from a stranger,
a mother’s faith and determinatioi
these are the stars’ reasons
for being grateful for what
they have. What are yours ?
In a hospitcl ward in Korea, a blind Gl opened
Terry Moore's eyes to the things she'd overlooked
Tab’s next Is “Battle Cry"
Life might have been very different for Tab Hunter
if his mother had accepted the doctor’s verdict
Doris Is In "Young at Heart”
A rundown trailer camp is still a vivid reminder of
the days when life was at its darkest for Doris Day
W
■
...■ % 4 '
BY JERRY ASHER
• It was only a routine trip with Doris Day, who’s
on a gardening kick, having her picture taken at
Paul J. Howard’s Flowerland. As the studio’s long,
black limousine headed south on Sepulveda Boule-
vard toward the nursery, Doris chatted away in
her usual, gay fashion. Her cornflower-blue eyes
registered excitement as the street scenes outside
flew by and vanished. Suddenly Doris leaned for-
ward and pressed her face against the glass. In a
split second, her mood changed and she was a
serious, somber, reflective person. Doris’ hairdresser
sitting at her side maintained a discreet silence
until Doris spoke.
“Did you see that rundown trailer camp back
there?” inquired Doris. “The one with those two
weatherbeaten totem poles guarding the entrance?”
Rather than disturb Doris’ trend of thought the
hairdresser nodded. The trailer camp had escaped
Doris’ companion completely.
“I lived there once,” Doris said seriously. “It
was a long time ago when I was first married and
life wasn’t exactly — shall ( Continued on page 70)
Ginny’s next is “The Silver Chalice’.
A smile from a stranger — and the course of Ginny
Mayo's life was changed. Above, with Mike O’Shea
Susan Hayward’s big problem turned into a blessing
in disguise when she followed her sons’ suggestion
Susan is in "The Conqueror"
BY
HYATT DOWNING
Today, Edmund Purdom
is learning that there is another
side to fame and fortune —
one that threatens the balance
of the man who leaped
to success overnight.
But he is a very determined man.
And the odds are even
MAN ON
A TIGHTROPE
The closeness he and Tita shared in poverty is, he
feels, being threatened by the demands of success
• Excitement and tension were high — not only with
the fans who watched from outside Grauman’s Chinese
Theatre in Hollywood, but to the hundreds of famous
“fans” who waited expectantly in the lobby and inside
the theatre. The premiere of “The Egyptian” was a
big one — even by Hollywood standards. It was a big
picture and an important one. And if those pre-
premiere rumors were correct, it was going to produce
a big new star. For Edmund Purdom, tonight should
see the fulfillment of all his dreams.
A long black limousine drove up slowly and care-
fully stopped at the curb in front of the theatre. As the
door opened, an excited throng of fans pushed nervously
forward, inching their way just a little closer, eagerly
hoping to get a glimpse of the' picture’s star. A low
moan was heard as they disappointedly discovered it
was not Edmund Purdom.
Five minutes before the CinemaScope spectacle was
scheduled to flash upon the large screen, every seat in
the tremendous theatre was filled, except for two center
seats reserved for the star and ( Continued on page 65)
Edmund Purdom
is in “ Athena "
mnmm
mm
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^T//r Alan Ladds' marriage is like their home — constructed with love
~
Four Ladds: Alan. Sue. David and Alana. Alan's in “Drum Beat” and “ The Black Knight'
32
and care , built solidly on faith and happiness
THE
RIJN
• The blond young man wandered rest-
lessly away from the real-estate agent. He
sauntered toward a knoll on the other side
of the street. With feet planted firmly on
the top of the hill, he gazed out at the hills
around. He was standing on a spot that
by its natural contours could never be
crowded by other houses.
“Nobody,” he said thoughtfully, “will
ever hurt us here.”
“Nobody,” agreed his wife, who had fol-
lowed him. “It’s lovely.”
“This is the place to build. I want this
lot.” The young man turned to the agent.
The bid he offered was a low one and yet
the owner accepted it. The young man
never knew why. It seemed like fate.
When the bulldozer started leveling part
of the knoll for a homesite, it was the tangi-
ble realization of a dream many years old.
A dream talked over at many a late-at-night
session. The planners were Alan and Sue
Ladd. But they could have been any young
couple. For love of home we all under-
stand. The castle in the air where the closets
will be exactly right, where windows will
be large, numerous and conveniently lo-
cated. Where every need of that particular
family will be met.
When such a goal is ahead, saving more
and doing without unnecessary things be-
comes a stimulant instead of a stumbling
block. The dream castle slowly progresses
from scribbled notes to architect’s plans.
Finally, the ground is broken. A family is
putting down roots.
For Alan and Sue, the day building
started on their home was a confirmation
of their own love for each other. Different
as they are in temperament, these two have
learned to merge their weaknesses and
strengths and have made together a strong
single entity which neither could have
created alone.
“The most important thing in mar-
riage to us is the (Continued on page 78)
BY DEE PHILLIPS
WHEN
DEEP
"Must important to Sue and me is the
togetherness in everything” says Alan
ROOTS
33
Dig this crazy Jean Simmons!
Tell her she’s sweet and she calls herself
a cat , a giggler , a moody mouse.
But confidentially—
she’s the most !
Things seem, to fall in my lap’
‘Jimmy’s” judgment, Jean’s humor, make a match
' Desiree ” set. a sweet award
# The California Beet Growers’ Association not long ago
awarded Jean Simmons a plaque naming her the sweetest actress
of the year. The presentation, made on the set of “Desiree”
without fanfare or advance notice, took Miss Simmons by
surprise. She didn’t know what it was all about until she unrolled
the accompanying scroll and started reading the citation:
... to Jean Simmons, the sweetest actress of the year . . .
“Oh, fudge!” she burst out. “That’s me?”
The remark shows that the slight and elfin-looking Miss
Simmons is down to earth, has a sense of humor and doesn’t
Dy 7
take herself too seriously. She’ll concede that she was pleased with
ERNST JACOBI the award, but she won’t lightly admit her qualifications for it.
“Let’s not overdo that sweetness and light business,” she
said. “I get to feeling kind of sticky just thinking about it. I’m
really a — ” and here she stopped, groping for the proper
word — “I’m really a cat. Really, I am. ( Continued on page 79)
35
Mitzi Goynor is a lady who loves shoes. "You'll wreck our bud-
get," says her man. Jack Bean. Then Mitzi found these shoes at
Catalano, with different leather lacings to match different
dresses. "Utterly mad," said Mr. Bean, “but practical — too!"
Cyd Charisse is right out of this mad world in her fox-trimmed
caracul cape, dyed a brilliant red. Just goes to show how fur
fashions will go! But we must admit Mr. Teitelbaum's spectacu-
lar fur piece makes a very dramatic foil for Cyd’s dark charm!
Pier Angeli not only likes rings on her fingers, but one on her
toe, too. Here's a tip for the girls who don't know what to do
with odd earrings. Pier has them made into toe rings! You'll
need'a wisp of a shoe for this foot fad — Pier's ore by Catalano
Rosemary Clooney is a sparkle-plenty girl, with or without those
eye-catching accessories. Playing up accessories to dramatize
a costume is a familiar theme — but Rosie goes one better. She
wears jewelry and gloves trimmed to match the gown she wears
Mitzi is in
"There’s No Business
Like Show Business"
Rosemary is in
White Christmas
Cyd is currently in
"Brigadoon"
Barbara Darrow looks at the world through fur-trimmed glasses!
A dazzling idea for girls who yearn for ermine or mink. A lit-
tle glue, o couple of ermine or mink tails — and you're in the
luxury class. Barbara got her lens-look from "The 400” shop
Barbara appeared in
“Susan Slept Here"
10
In father’s day, stars lined their
pools with mink and rode in jewelled
cars. Today, it's items like these
that add spice to the movie scene
Diana Lynn received this one in the mail from a friend. "You
figure it out," read the card. It took quite a while, but Di
finally did. Now she's creating a sensation when she steps out
in what designer William J. calls the "Enchanting Bird Cage"
Shelley Winters wanted a purse with lots of room inside. Now
she totes one of Hollywood's maddest fads — a Honeymoon Cot-
tage bag from “The 400" shop. Oh well, if she ever needs a bag
with still more room, she can build an extension on this one1-
Shelley is next In
"The Night
of the Hunter"
Diano's last Is
'Track of the Cat"
Mother’s
Little
Dividends
Through Ricky and his sister, June
has found inner contentment and
happiness — the ability to relax
They stump her with questions, bewilder her with baby talk, disarm her
with angelic guile. But would she go back to
• When I consider what we actually have done
for our two children — gentle, determined, thought-
ful Pamela, now six, and laughing, life-of-the-
party Ricky, nearly four — I’m filled with wonder
at how little it really is. Just a warm, clean room,
a place to sleep, food and music, cuddling and
love, acceptance. We give them clothes and toys
for play. We try to answer their never-ceasing
questions about the strange world surrounding
them. We teach them about God and His infinite
goodness. A nurse looks after them while I’m
away at work. A doctor visits them when they
need medical care. But what does this really add
up to? — so very little in contrast to what they
give back to Dick and me.
June Allyson is in “Strategic Air Command’'
life BC (before children) ? Not June!
Even as tiny, helpless babies who just looked
at me and smiled, they have enriched me with
faith and tolerance and patience and a growing
maturity. They gave me the most precious gift
of motherhood — and with it fulfillment and com-
pletion as a woman. They have strengthened an
already good marriage. They have given me
inner contentment and happiness and the boon
of relaxation. They’ve opened my eyes to a new
realization of the meaning of Christmas and
birthdays. They gladden my heart daily. No
queen ever had a more loving entourage.
I confess freely that I’m an incurable senti-
mentalist where children are concerned : the
kind of mother who even ( Continued, on page 89)
Rock Hudson is in “Bengal Brigade "
Europe was wonderful but, “We don't
know how lucky we are in this country”
“ Remember those crazy taxi drivers?”
Friend Betty Abbott met Rock in Paris
Good to be away, but it's good to be back
— to laugh and work again, among friends
He admired the beauties of Ireland, Italy
and France but none of them could com-
pete with the girl he’d left behind him
Rock Hudson’s
Love Affair
With the
BY
RAY MANNING
• The big ship was slowly steaming up toward Staten
Island. In the distance beyond, New York was rising out of
the sea, the towers and spires of Manhattan rearing into the
blue sky like a fairy city, its million windows sparkling in
the sun. At the left, another island came into sight, then
slowly drifted by — Bedloe’s Island, the Statue of Liberty
greeting another Queen — -the “Queen Elizabeth.”
“What’s the matter, Rock?” one of the passengers who
were clustered at the rail asked the young giant standing
there with a dreamy, faraway look in his eyes. “Aren’t you
glad to be home? Why so quiet?”
Rock smiled. Sure, it was good to be home, awfully good.
But why was he so quiet? What could he answer? With the
thoughts and memories whirling in his head, emotions tug-
ging at his heartstrings, he had a tough time keeping the
tears out of his eyes. He couldn’t speak.
Rock had forgotten. He’d been away four months and he’d
forgotten. Forgotten how much all this meant to him, for-
gotten how lucky he was that he was an American who could
come back to this country and call it his own; a country
where a lad from the wrong side of the tracks could afford
to dream, dream anything he cared — to become a movie
star in his case — and have a chance to make the dream
come true.
It was silly, wasn’t it, how he could have lost consciousness
of it for even a minute? But he had. Only the sight of the
Lady with the torch, the girl he’d left behind him, had
brought it flooding back to him.
For Rock had enjoyed himself; let there be no mistake
about it. “I’ve had a terrific time. Eprope was wonderful.
I can’t believe it’s over so soon,” (Continued on page 73)
41
Don't Blamo Yourself,
MARILYN
Editor's Note:
Nanette Kutner is a writer who has
known the circumstances surrounding
Joe DiMaggio's first marriage. PHOTO-
PLAY publishes her open letter to Mari-
lyn Monroe as one person's interesting
viewpoint on what happened to the
other woman who also thought she was
the right person to be his wife
AN OPEN LETTER TO MARILYN MONROE:
You are coming out of the anesthesia of shock, Marilyn.
Like every newly separated or divorced wife you have been on
an emotional binge. The Christmas holidays are around the
corner; they may well make matters worse. Remembering other
holidays when you had a man for whom you could buy presents,
you look around at a home echoing emptiness.
You have already discovered that if you don’t make a date
ahead of time you will be stuck, just when you feel like going
places. Sure, there are nights when you are exhausted and want
to stay put, but those other nights when you’re pepped up and
alone — they’re not so good. Due to the exigencies of studio
work you never can tell how you may feel ; it ig frustrating to
sit at home when you need the shot-in-the-arm of going out, or
to go. out when you are aching to sit ( Continued on page 62)
The girl you know as Marilyn
This is the story of the now famous trip for Marilyn and Joe
which ended tragically in a divorce suit
BY LULA ANDERSON
• Delighted youths, many of them
high-school students, surged against
barriers held by hard-shouldered cops
and chanted in happy, demanding ca-
dence, “We want Marilyn!”
Focus of the commotion was a trim,
freshly painted town house on Manhat-
tan’s East 61st Street. Traffic had been
blocked off. In theory, the cleared space
was reserved for 20th Century-Fox di-
rector Billy Wilder’s crew to film a
sequence in “The Seven Year Itch.”
However, half a hundred news photog-
raphers invaded the motion -picture
camera area.
All lenses, as well as the eyes of the
crowd, were aimed at a second-floor
window where Marilyn Monroe, clad
only in a revealing lace-yoked satin slip,
fluffed her platinum tresses and called
down to her entranced leading man,
Tom Ewell, “I just washed my hair.”
Certainly it was far from the year’s
most brilliant line of dialogue, but
Marilyn held her audience. When the
director called for silence the crowd
hushed. Then, as Marilyn finished the
sentence and vanished from their sight,
there was a sigh and the boys again
raised their chant, “We want Marilyn!"
Little did the fans making up that
crowd realize that Marilyn was acting
out the third act of a drama in which
they were unconsciously playing a part.
These were the moments that Marilyn
had once visualized in a dream — the
dream was a reality but the enchant-
ment had somehow escaped. For Mari-
lyn knew that tears would soon replace
the impish grin which even then held
a trace of tiredness, a trace of strain.
When you look back at Marilyn’s life
across the years, a personal drama as
well-defined and tense as any master-
playwright’s best effort was being played
that day.
Act I of that drama was the longest,
nearly twenty years in shaping. In its
troubled prologue, Marilyn’s mother and
father found (Continued on page 62)
As she appears in “ Seven Year Itch ”
Actor Roddy McDowall, who
lives nearby, was envy of
crowd when he greeted Marilyn
From balcony of house on Sixty-first
Street, New York, Marilyn talks to
a high-school friend, now with NBC
New Yorkers turned up in crowds,
and early for shooting , blocked all
traffic, chanted, “We want Marilyn”
Her reception was a~heart-warming
experience for the girl who even then
was keeping heartbreak to herself
Marilyn Monroe is next in " There’s No Business Like Show Business'
Arlene Dahl has no trouble with her New
Year resolutions. What she can't do to-
day she puts off — on the next year’s list!
Tab Hunter's scheme for living up to his
good intentions should work — as long as
he doesn't forget to wind that watchl
Dale Robertson's a man of few words, but
if he sticks to his resolution — and that
typewriter — this guy will say volumes!
Star resolutions are
just like yours and mine.
Some of them are
kept and some of them
just get lost!
BY
SHEILAH GRAHAM
• When the clock strikes twelve on January 1, 1955, amid
the merry-making, Hollywood stars will be hauling out
special lists, some long, some short, headed by: New Year’s
Resolutions. Some will be made in fun, others will be serious
self-promises. But like you and me, the stars, too, feel January
1st is a good time to wipe the slate clean and start afresh.
Arlene Dahl is serious about her career, her marriage and
her resolutions. One way to keep a resolution, she insists, is
to make out a list, scratch off those you keep and transfer
the unresolved resolutions to your new list. “This year,”
Arlene says, “Fernando and I are resolving to have a baby.”
With Arlene’s and Fernando’s looks ( Continued qn page 64)
46
If Marge and Gower Champion break
that New Year resolution, it won't be the
only thing broken by this dancing pair
When it's puppy love, you can’t blame a
girl like Piper Laurie if she doesn't
Dean isn’t fooling about this one — and
the Martin and Lewis pledge for 1955
should have their fans jumping with joy
The Champions are in "Three
for the Show," Piper Laurie,
in "Smoke Signal," Martin and
Lewis, in "Three Ring Circus,"
Mitzi Gaynor, in "No Business
Like Show Business"
This little piggy’s going to market some
day — for a very special reason, if Jack
Bean's Mitzi Gaynor gets New Year wish
Whatever your problem.
Kim, age 9, a thin, sensitive child. At 14, Kim tried to join in the fun,
sure her height made her look “funny” hut the old fears wouldn’t get lost
Dont Be a Teenage
Tlisfit
BY LOLA PARMETER
• It took Kim Novak thirty minutes
to walk from her dressing room to the
set of “Pushover” the first morning
the film was scheduled for shooting —
a distance of no more than 200 yards.
To Kim, the distance was not the
problem. What bothered her was an
entirely different matter.
“There I was,” says Kim now. “I
couldn’t move. I just sat in my dress-
ing room glued by fear. Every time
I whipped up enough courage to step
outside the door, I almost died when
I saw all those people on the set.”
This hardly sounds like the glam-
orous blond with the sexy voice who
caused a minor sensation in “Push-
over.” “The statuesque blond with the
graceful carriage,” as one column re-
ferred to her. Or as a talent expert
concluded: “The girl who has every-
thing.” The girl movieland prophets
are vowing will be one of the screen’s
most popular personalities.
“As I sat there,” Kim says, “I
wasn’t Kim Novak, movie star. I was
plain Marilyn Novak and all my old
fears and inferiority complex hounded
me. It’s a shame inferiority complexes
can’t be outlawed.”
Kim Novak was born in Chicago —
without any complexes as far as she
knows. However, it’s lucky that Kim
wasn’t born superstitious! She arrived
on February 13, 1933 at 3:13 in the
morning and her mother had room 313.
The Novaks were unable to agree
upon a name for their new daughter,
and so they decided that each mem-
ber of the family could write his or
her suggestion on a piece of paper
and they’d draw for a name. The slips
went into a hat and Kim’s mother
had the honor of drawing. The paper
she choose was marked Marilyn. And
the baby was called Marilyn until
Columbia changed her name twenty
years later to Kim.
When Kim began to grow, her fam-
ily was convinced she would never
stop. She was thin and always tall for
her age. “And gawky,” she now adds.
She had braids that reached to her
waist and wore clothes that her grand-
48
!
of her “lost” teens
With school plays, modeling, Kim, 19,
began to gain confidence in herself
Kim Novak, today.
She’s in "Phffft”
mother made for her. “Plain little out-
fits, and I so wanted curls and frilly
dresses like other little girls.”
“There’s nothing wrong with your
appearance,” her mother would tell
her. But all Kim had to do was look
into the mirror.
“I remember how the boys would
make up games and let the girls play,
too,” says Kim. “But even when I
gathered up enough courage to try
entering into things, they’d always
tell me to go away. They didn’t seem
to want to play with little girls who
didn’t have pretty curls.”
Kim’s low throaty voice provided
her with another problem. On
Tallulah (Continued on page 76)
TOUG
No man for nightclubs, Vic works
off excess energy running his tv
store and other business interests
rrI can lick anything , ”
says Victor Mature . And though he
seems to have been defeated
in his search for happiness,
he’s not the man to cry quits
• Recently Dorothy Mature filed suit for
divorce. After a lengthy absence from the
headlines, Victor Mature was again making
the front page. This time he wasn’t trying.
He had hoped that the matter could be
settled quietly behind the closed doors of
their lawyers’ offices. He refused to make a
statement to the press. Dorothy was equally
firm in refusing to discuss what finally broke
their six-year marriage.
Talk said, “It’s all his fault.”
“Her fault,” corrected the other side.
The party who came closest to the truth
said, “There are two sides to every story. I
guess there have always been two sides to
Victor’s story.”
Victor’s reticence to speak of the divorce
— or very much these days — is quite unlike
the Mature of the old days. Only a few years
ago his voluntary withdrawal from the lime-
light would have been considered impossible.
He was the man with the knack for making
the front pages. In doing so, he became one
of the most controversial figures in Holly-
wood. He still is.
Vic is a man who is many things to many
people. He’s been called a publicity hound.
He’s been called a recluse. He’s been dubbed
one of the most complex individuals in film-
land. Yet his philosophy of life is a simple
one.
Financially speaking, it’s been said that
he can make a Scotsman resemble a spend-
thrift. “Sure he’s tight with a dollar,” says
a friend. “But he’s loose with a hundred
dollars.”
He can make a mistake like anv other
member of the ( Continued on page 86,1
Vic and Dorothy, in happier days.
“ Loving him,” she said, “is like
being hit by a benign whirlwind”
BY BEVERLY OTT
Victor Mature will next be seen in “Chief Crazy Horse ’
51
Ralph Edwards emcees "This Is Your Life" on
NBC-TV, Wed. 10 P. M. EST, for Hazel Bishop
Lipstick, Nail Polish and Complexion Glow
Hey there, you with the stars
in your eyes
Where did you get that
glass slipper? How did you
get on that magic
road that’s brought you
so close to heaven?
• You are Destiny’s darling.
You’re the inspiration for every small-town girl who
dreams of making good in Hollywood . . . and of being
in your own magic shoes. You’re the Cinderella Girl of
all time. And yours is the Cinderella story nobody would
ever believe on film. Today all across America other
young feminine hopefuls wish upon your star and dream
of being exactly where you are. For you’re the girl who
shines bright in starlet town and captured a Prince
Charming as well.
A picture, they say, is worth ten thousand words. And
yours has been worth infinitely more. But this, JANET
LEIGH, is your life — and your destiny. . . .
Like arty true Cinderella story, yours begins once upon
a time. That time is 3:30 p.m. on July 6, 1927, in the
small town of Merced in northern California. And ac-
cording to your proud father, Fred Morrison, it’s Christ-
mas in July. . . .
Continued
X
This will let you know
who's who" kt our house:
4 ytx*
Janet Leigh’s birth an-
nouncement. Says her Dad ,
“She looked like a doll”
Glamour girl of Merced,
Cal., 9 months, poses for
first official photograph
1930: A budding Pavlova.
Money was scarce, but
Janet charmed the grocer!
1935: Twirling baton for
fraternal lodge won her
loving cup — and blisters!
On first real date with
Dick Doane her parents
went along for the ride!
52
Janet Leigh is in “My Sister Eileen’ ‘
1946: At Ski Lodge with parents. With her grandparents. Her grand- Because of her parents’ training, June 4, 1951: Janet marries her
friend. It was here that Norma mother, blind for years, never Janet’s sense of values did not Prince Charming, Tony Curtis
Shearer saw Janet’s photograph saw her adored granddaughter desert her when she became a star (above, with the Jerry Lewises)
53
“Jeanette was the most perfectly formed little baby I’ve
ever seen — and I’m not just saying that because I’m her
father either. To tell the truth, I was a little afraid to
look at her when she was first born. I’d heard a lot about
little babies being so red and funny-looking, and I was
relieved to find she wasn’t like that. She looked like a
little doll from the hour she was born. She weighed in at
six and one-half pounds, with big blue eyes and a lot of
light auburn hair.”
Yes — you’re the glamour girl of the Merced Hospital.
No doubt about that. And according to your mother,
Helen Morrison, your proud pop “stole” a ride and broke
all records getting there for the preview. . . .
“Fred had taken me to the hospital the night before.
When the doctor told him the baby wouldn’t be born
until late the next day, he went on to work. They prom-
ised to call him in time. But at 3:15 when he called the
hospital and asked, ‘How’s my wife?’ they told him I was
in the delivery room. We didn’t have a car, but when
Fred dashed wildly out the door of the ice company
where he worked, he saw a truck standing there with the
motor running, and he jumped in and took off. He had a
time explaining later. The fellow thought sure somebody
had stolen his car. We both wanted a girl. And I was
glad she had her father’s snub nose — I’ve always hated
mine. We didn’t have a name for her, and somehow every
name we thought of wasn’t good enough for her. Finally
we decided on Jeanette. . . .”
When you’re nine months old, you pose for your first
official portrait, wearing baby-blue organdy, a fluted blue
organdy bonnet and your first pair of black patent-leather
slippers. But not even your own proud parents could
know how much of your life is to be spent looking into
the lens of a camera. You walk on your first birthday.
And you’re not too good in that “how-now-brown-cow”
department for quite some time. Ice cream is “buda
buda.” And the best you can do with your Aunt Pearl’s
name is “Popo.” Years later when she is your secretary
in Hollywood, Auntie Popo will still be her name. . . .
When you’re two years old your parents move to
Stockton, California, and your father looks for work
there. These are tough times, as your mother now recalls:
“We stayed with my folks at first. Seven of us in a
small two-bedroom place in a court. Fred got a temporary
job helping out on an ice wagon, and for a while there
we lived on a quarter a day ! In those days you could buy
a nickel’s worth of hamburger and get a soupbone on the
side. And for another five cents I’d get a couple of tur-
nips, a carrot and perhaps a piece of cabbage for soup.
Jeanette was a big girl before she knew anybody ever
bought more than three eggs at one time. We moved —
well — just about every time the rent came around.”
In 1929 you’re two years old ( Continued on page 82)
1951: a trip to England and another thrill
for this small-town girl. In London , Mr.
and Mrs. Tony Curtis meet British royalty
An inspiration to all young lovers , Janet
and Tony , here in **The Black Shield of Fal -
worth,** have proved marriage , career , do mix
hey there, you with the stars
in your eyes continued
54
PHOTOPLAY STAR
Above, thrijling new line in sports cars — the beautiful Kaiser-Darrin
Photographs by Richard Litw>n
NEW LINES IN THE
The shape's the thing in exciting new
There's a new you waiting in the world of fashion. Its
new concept of line and design has been adapted in
young, delightful clothes ready for you to buy. Gone
are exaggerated bosoms, tiny waists, voluminous stand-
out skirts. The hour glass figure has run out. In its
place comes a new shape, a flattering (but never flat )
look that sleeks and straightens the figure to a smooth-
er, molded silhouette. Graceful, soft and feminine, it
-gives you all at once a taller, slimmer look. You'll wear
and love the new glamour lines shown on these pages.
FASHION SPOTLIGHT
clothes you'll wear now through spring
Photoplay’s Star Fashion Award this month goes to
Jpckie Nimble's two exciting new-look dresses. Lovely
Anne Francis, M-G-M star, wears the flattering, quieter
curves of the long torso line in a smooth organzine
taffeta marked by a cuffed, dropped waistline and
bejeweled sash bow, with skirt fullness below. Red,
green, toast, black. Sizes 7-15. Under $30. The white
glamour sheath bursting in a tulip flare, modeled by
sparkling star, Sarita Montiel, is bewitching cotton lace
over taffeta. Also red, beige, black. 5-15. About $25
Complementing new lints in fashion ere
the sleek, breathtaking lines of new sports
car designs we've featured on these pages
For Where to Buy turn to page 69
55
PHOTOPLAY
STAR FASHIONS
Continued
Right, Anne Francis, starring in M-G-M's "Bad Day at
Black Rock," loves her go-everywhere coat, worn
smoothly wrapped in sports-car jaunts. Smart new
sailor collar is exciting feature. It’s cashmere-like
100% Orion, h/lilium-lined, and completely sudsable.
Red, navy, camel, 7-15. By Lassie Jr. About $65
Below, the blouse look interpreted in a wonderfully
wearable rayon linen suit. Longer waisted contoured
band is placed low in back, buckling at the front.
Arrow darts trim shoulder and pocket of slim skirt.
Navy, teal, moss green, other colors. 8-18. By Lampl.
$14.95. Worn by Sarita Montiel of U.A.'s "Vera Cruz"
Far right, the important, less defined and lowered
waist in a coat dress worn by Peggy Ann Garner.
Rayon linen smoothed to a snug hip where the long
torso releases a flourish of unpressed pleats. Pumpkin,
pecan, shocking pink, seafoam. 7-15. By Junior Accent.
Under $40. Peggy's now in 20th's "Black Widow"
Below right, the glorified shirt that will give you one
straight, elongated line, shoulder to hem. Elaine
Stewart, star of 20th's popular "Hajji Baba," shows
you the casual elegance of a relaxed silhouette.
Fashion excitement in its back belt. Aqua or pink
tweed. 8-16. By Jeanne Campbell for Sportwhirl. $25
THE SHAPE’S THE THIHG...
Gloves by Dawnelle
Hots by Betmor
Pearl jewelry by Deltah
A triumph in design, the smart Sunbeam-Talbot Sky-Top
Small, smart and powerful, the beloved MG convertible
For
Where to Buy
turn to
page 69
Hillman Minx convertible, bedecked for fun with a fringe on top
America's sports car jewel, Chevrolet's deluxe Corvette
PHOTOPLAY ST^R FASHIONS
Continued
THE SHAPE’S THE THING . . .
Hillman Minx convertible — Britain's smooth new line in sports cars
The current mode raises and rounds the
bosom and so does this dress. It's shaped
with assurance down to the hips where the
lovely gored skirt starts a graceful flare. But
the real news — a rhinestone-buttoned stand-
away collar in white linen, with Paris-inspired
real man's tie in a bright flash of red. This
was one famous designer's trademark. New
line in fabrics — heavy wrinkle-resistant all
year cotton poplin. Black, blue, navy. Sizes
7-15. By Bobbie Brooks. $17.95. It's divine on
Anne Francis. Look for her soon in M-G-M's
exciting new film, "The Blackboard Jungle"
.
For w here I o Buy turn to page 69
The glamour chassis — Chevrolet's magnificently sleek Corvette
Can you find a smarter look? Soft wool
jersey in an unbelted, unbroken soft curved
line, top to bottom, with sleekly tapered
sleeves for added emphasis. The slimness of
the long-line sheath is enhanced by the
bright sparkle of white-as-snow silk faille
filling in the scooped neck. Exclamation
point — the rhinestone buckle trim, straight
from Paris and blazing a new fashion trail.
You'll find it on everything — tweeds to
satins. This sheath in black or navy jersey.
Sizes 7-15. By J. L. F. Originals. About $45.
It's worn by M-G-M star Elaine Stewart.
WHAT TO WEAR TO SHAPE
THE NEW FIGURE LINE
Fit your figure to the fashion with a new strapless shape -
maker in nylon lace, for the higher, newly rounded look. It's
flattering, never flattening. White only. Sizes 32-38, A, B, C
cups. Pre-lude bra by Maidenform. $3.50
White nylon power net pantie girdle that sustains a natural
waistline, its non-cross-stretch sides paring the hips to a
straighter line. Flowered satin panels front and back. Sizes
S, M, L. By Formflt. $7.50. (Open girdle style, $6.50)
New focus on the rounded bosom with a strapless bra
that smooths to the waist, lace-edged nylon with booster
uplift. Sizes 32-38, A, B, C cups. Hollywood-Maxwell. $7.50.
Shaping the new silhouette, stiffened net pettiskirt bells
from a nylon tricot long torso sheath. S, M, l. luxite. $7.95
PHOTOPLAY
STAR
FASHIONS
continued
THE THING...
This is the look, the suit that slopes in an
easy, supple longer body line, punctuated
only by the snug-fitting belted hipline.
It's a suit with a thousand lives, no longer
sharply defined, but always casual, new,
important. Elaine Stewart's versatile en-
semble in soft-as-down Orion and sheer
wool checked plaid, features a molded
sheath dress piped in the same pink Irish
linen of the jacket collar. Boxy jacket's
sleek, to the newly popular hip-low belt.
Navy and pink plaid only. In sizes
10-16. By Nathan & Strong. Under $50
Ffor Where to Buy turn to page 69
Yo
In these 3-hour clanger periods
ur skin Dies A. little
There are 1- to 3-hour periods each
day, doetors say, when your skin is
open to serious trouble: stretched
pores . . . coarsened texture . . . crack-
ing and ''shriveling.” These danger
periods of skin "un-balance” are right
after you wash your face. In washing
away the dirt, you also remove natural
skin protectors. Nature takes from 1
to 3 hours to restore these vital pro-
tectors. In the meantime, your skin
"dies” a little . . .
Read how great beauties
of the social world prevent the
damaging effects of skin " un-balance ”
After each washing —
"re -balance” your skin
You can notice these little warnings of
skin "un-balance” right after washing —
— flakiness ... a blotchy look
— a "burning,” stretched tight feel
Should you stop washing your lace? "Not
at all,” skin specialists say — "but alter
each washing, ' re-balance ’ your skin
instantly . . .”
60 times faster than Nature
Light, swift-acting — Pond’s Cold Cream
"re-balances” your skin in one minute —
at least 60 times faster than Nature does.
It combats dryness, shriveling. Keeps
pore-openings clear. Keeps skin texture
fine and smooth.
A deep clearing at bedtime
Besides "re-balancing” after washing, your
skin needs a thorough clearing at night.
A deep Pond’s Cold Creaming dislodges
water-resistant dirt from the pores. Keeps
your skin looking fresh, vibrant.
Start this complete beauty care with
Pond’s Cold Cream today. You’ll be
astonished at how quickly you have a
noticeably lovelier complexion!
The world’s most famous beauty formula
■ — never duplicated, never equaled. Get a large
jar today. More women use and love Pond’s
Cold Cream than any face cream ever made.
The lovely Marchioness, photographed in her charming Park Avenue apartment, is
noted for her exquisite complexion. About her skin care, she says, ' It s now second
nature to me to reach for Pond’s Cold Cream after each washing. And I never miss
a good, deep Pond’s cleansing at bedtime.”
fil
( Continued from page 43)
home. Not having to make a date ahead is
part of the fun of having a husband. I
doubt if you experienced much of that
fun. From what I hear, Joe took you out
little, if at all.
Ever since you were bandied from foster
home to foster home you have taken the
knocks by yourself. It is sharing the nice
events that you probably missed the most,
the talking them over with Joe, although
the conversation may have been kind of
one-sided.
Let us face it. There is no substitute for
being loved. You have discovered absorb-
ing work is not sufficient. In your despera-
tion you are apt to forget the dozens of
unpleasantries which brought on the split.
As you are an honest soul, I am fairly cer-
tain you have begun to wonder where you
failed, how much was actually your fault,
perhaps this, perhaps that. You go over it
again and again: maybe if you hadn’t had
the career, maybe if there had been a baby
coming, maybe. . . .
Well, Marilyn, it was not your fault and
it had nothing to do with your career. I
think the separation would have occurred
anyway. You see, I saw how your Joe acted
during his previous marriage to Dorothy
Arnold. I am an observing reporter, Mari-
lyn. Of course a person can change, but
only a great one. Joe was a superb ball-
player. Still, is he a great person? I doubt
if he will change. It is impossible for
me to believe you or any other bright,
alive, cooperative, well-meaning woman —
career bent or no — could have liked a mar-
riage, like the one Dorothy had, for long.
But, knowing your own heart, you will
be guided by what happened to Joe’s mar-
riage before. You will be wiser.
Marilyn, it was several years ago when
I was assigned by a top national magazine
Don't Blame Yourself, Marilyn
to write a piece about Dorothy DiMaggio,
her husband Joe and their baby.
Joe, Dorothy and the baby were living
in a furnished sublet penthouse in New
York City. The living room was a digni-
fied oak paneled room, with book-lined
shelves. “Some days I take those books
down, every one,” said Dorothy DiMaggio.
“They’re hard to dust. But it helps pass
the time.”
Marilyn, Dorothy DiMaggio was — and is
— a glamorous blonde. And at the time of
her marriage to Joe she gave up her movie
career for him. And she had a baby. She
did all the things you didn’t do.
She showed me her mink coat. “Joe gave
it to me. I don’t get a chance to wear it
much. When he’s not too tired we go to a
movie. He likes action pictures; I like
love. We go to action.
“When we don’t go to the movies we stay
home and play gin rummy.”
She tried to explain Joe. “Mep are
screwy when it comes to their worship of
ballplayers. They set ballplayers apart.
Joe’s been playing professional baseball
since he was very young. No one ever
says No to him.
“I go to the game every day. When I
don’t go Joe likes me to listen.” She tuned
in the radio (this was before tv). “I’m
always afraid he’ll get hurt,” she confessed.
Little Joe was about ten months old then.
“Joe wants him to grow up to be a ball-
player. So the whole time I was pregnant
I never missed a game.”
There was a wife, Marilyn. And don’t
you forget it. She did all the things you
may be kicking yourself for not doing
and look what happened to her. Before my
story about their marriage could be pub-
lished, Dorothy telephoned me. It was a
nice gesture. For she did not want me to
be embarrassed by its publication. “You’d
better kill the story,” she told me, “because
I’m leaving. I’m taking the baby. To Ne-
vada. Yes, I know what I’m doing. I can’t
rot away.”
The mystery to people is why you didn’t
know. You went with Joe for two years.
Console yourself, Marilyn. Many couples
whose marriages flopped have gone to-
gether for long pre-marital periods. Dur-
ing the courting, somehow, both parties
let smoke get in their eyes. They kid
themselves. They think matrimony will
erase faults. It doesn’t. Matrimony is
nothing more, nothing less, than two peo-
ple with plenty of faults learning to live
together harmoniously. For happiness,
both have got to give.
Sometimes, Marilyn, it seems difficult to
give — as you and Joe discovered. But,
then, sometimes with separation, with
loneliness, the giving seems almost insig-
nificant. Both you and Joe have learned
this, too. The lonely evenings you spent
alone in your studio dressing room be-
cause again, you had no place that was
home. The pleasant warmth of sharing
young Joe’s birthday dinner with him and
his dad, big Joe — even though you were
separated. You gave a little then. And Joe
has given, too. When he drove you to the
hospital and paced the floor until he heard
your operation was a success. Under-
standing and sharing form the foundation
of marriage, Marilyn. Often it takes real
unhappiness to know them. But some-
times, from heartbreak comes a more last-
ing, more complete happiness.
You had a nasty jolt, Marilyn. There is
no use rehashing, blaming yourself. I
know you feel badly, but how else do you
expect to feel? Grieving is no disgrace.
But know that you are not alone in your
grief. There are some who understand.
The End
The Girl You Know as Marilyn . . .
(Continued from page 44)
themselves unable to cope with the de-
spairs of the depression. In consequence —
and in a manner reminiscent of classic
fairy tales — their tiny daughter, the future
golden princess was reared by strangers.
No shining knight came to her rescue.
Instead, with a determined vision of the
future, she worked to earn her own king-
dom. Her ambition put her first on maga-
zine covers and calendars, then into
movies. There were many discourage-
ments. Two studios signed her, then
dropped her, and the experiences hurt.
But through it all she had faith in her
own destiny, and the camera lens was
always her ally. The first goal was won
when it brought her photos to those who
were even lonelier than she — the GI’s
drawn into service by the Korean war.
As a curvaceous blonde starlet in a bathing
suit, she brightened barracks walls in
Seoul, Istanbul and Berlin.
Thus the emerging star acquired that
first asset of a reigning queen — a host of
loyal men-at-arms. Again the motion-
picture cameras took notice of her.
Act II brought fame, love and a second
curtain crisis better cast and more dra-
matic than that of a stage play.
It opened with Marilyn Monroe strolling
through brief bits to decorate the dreary
scenes of a succession of even drearier
pictures. One of them served her well, for
because of it she got her first glimpse of
the wondrous towers of Manhattan.
Brought into New York at the rate of a
hundred dollars a week to exploit a jic-
ture called “Love Happy,” she was, for an
afternoon while she met exhibitors, in-
stalled in a magnificent hotel suite. But in
the evening, after they had departed, she
was moved to a tiny room. She made up
for it by ordering caviar for breakfast and
charging it to the film company.
The still photographers — the men back
of the Speed Graphics and the Rollies —
gave her more consistent billing, for she
had both the mien and manner to delight
them. One veteran photographer re-
marked, “Marilyn opens her eyes a second
before you snap, then blossoms like a
rose.” Photo editors, too, became her fans.
A national picture magazine termed her “a
serious blonde who can act . . . the effort-
less mistress of the slow, calculated walk
. . . the brightest star since Lana Turner.”
Then Marilyn was accused of appearing
coyly in the altogether on a highly popu-
lar calendar. Marilyn proved she could
pitch a curve as well as pose in one.
Freely she admitted she was It. She also
admitted another thing considered by
some to be very bad etiquette — that she
had posed because she was broke and
needed the money. Asked what she had
on during the shooting, she replied, “The
radio— but it was all right. The photog-
rapher’s wife stayed in the room.”
It won her newspaper space but not the
approval of her feminine colleagues.
Asked why she hadn’t skinned alive a
certain female columnist, she answered,
“Because it was more cruel to leave her
skin as it was.” Rubbing salt in the
wound, she candidly stated she preferred
men to women interviewers. “Men and I
have a mutual appreciation of being male
and female.” She remarked, too, “I don’t
mind being in a man’s world so long as
I’m a woman in it.”
In like mood was her condemnation of
too much sun tanning, the famous, “I like
to feel blonde all over.”
At the same time she was kidding her
critics, Marilyn Monroe was earnestly pur-
suing a sounder campaign for answering
them. To broaden her knowledge and to
equip herself for the stardom she was de-
termined to achieve, she enrolled in uni-
versity classes to study philosophy and
literature (“I want to know not only
what people write but what makes them
write it”). She also studied drama and
eventually found a coach who suited her,
Natasha Lytess.
When she was ready to call attention to
this phase of her interest, she did so with
a characteristic Monroe gesture. The col-
lection of playscripts in which hand-writ-
ten notes had been inscribed by the famed
director, Max Reinhart, was to be offered
at auction. Expecting no competition, rep-
resentatives of two universities conferred,
it is said, and quietly decided what each
would bid on and at what price. They
reckoned without Miss Monroe. She went
into the auction and bought up the entire
collection. Later, when much turmoil
arose because they had fallen into the
hands of a private individual, she per-
mitted Reinhart’s son, Gottfried, to buy
them back.
As the dust settled after that incident,
certain writers, still refusing to believe
that the sexy beauty could have a serious
desire to own or study the playscripts,
credited the idea to Marilyn’s drama coach
Miss Lytess and called her a “Svengali.”
Whatever her role in the matter, Miss
Lytess aided Marilyn. Marilyn found in
her coach not only a teacher but also a
woman friend who believed she was more
than a pinup girl and said so. Later, as
Marilyn’s growing skill in handling roles
drew surprised praise, Miss Lytess dis-
claimed credit, saying, “All I taught her
was to open up and let go of her voice and
body and not telegraph her emotions ahead
of time.”
One emotion which Marilyn never
ceased telegraphing was her driving de-
sire for good parts. Learning, in 1951,
that “Gentlemen Prefer Blondes,” was to
be made into a picture, she set her heart
on the lead and gambled more than she
could afford to go to New York to study
the stage play.
The trip was far from a red-carpet tour.
Although she had already appeared in a
string of pictures as long as your arm, she
passed unnoticed on the streets. No one
asked for her autograph, she ate in a cafe-
teria and, as she recently confessed, she
was a long time paying her hotel bill.
Worrisome though the trip was, it proved
to be — in both her professional and private
life — a turning point. She got the role.
When “Gentlemen Prefer Blondes” was
released by 20th Century-Fox, it grossed
$5,100,000. Her performance, together with
her role in “How to Marry a Millionaire,”
put her at the end of 1953 on a new kind
of pinup list — sixth best boxoffice draw.
The private life importance of that New
York trip before she was cast in “Gentle-
men Prefer Blondes” centered around Joe
DiMaggio. Marilyn had met the Yankee
Clipper in Hollywood and, since business
had taken him to Manhattan, they met
again and Marilyn went home feeling sure
he was the most fascinating man she had
ever known.
Her feeling about Joe, however, was an
emotion she well knew how to keep to
herself. After two years, Marilyn, again
in a surprise dramatic move, married Joe.
And with a winning gesture, chose, on her
honeymoon tour, to visit her first staunch
admirers — those devoted men-at-arms still
stationed in Korea.
Act III finds Marilyn still on stage — but
this time it is as a bewildered, hurt young
woman. Her smile flashed in answer to
the admiration of the fans in Manhattan
but that smile masked an inner uncertainty
about herself as a wife. Against elegant
backdrops of El Morocco and the Stork
Club, Marilyn appeared with Joe. Marilyn
admitted freely she’d never realized how
popular Joe was until the day when she
opened the trunks holding his vast collec-
tion of loving cups, medals, rings and cuff
links, all prizes which had been awarded
him. Marilyn had a chance to show off
her mink coat, the first she ever owned.
When someone protested that it was too
warm for her to wear it she replied, “Joe
gave it to me. You can just tell people I
don’t know any better.”
Marilyn was every inch the movie star
on this visit to New York, and unfortu-
nately, that every inch held heartbreak
which was to blaze forth the minute she
returned to Hollywood. She played the
final dramatic scene in her marriage, not
before her fans, but before some five-
hundred newspaper photographers and re-
porters, on the front lawn of the house
where she and Joe had been able, always
before, to shut out the world of Hollywood,
baseball and the fans that idolized them
both. Now, the world knows the sorrow
that this house contained. A house in
which the girl you know as Marilyn awaits
whatever action is handed her in the script
of life which she is yet to see.
The End
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There's a Resolution
( Continued from page 46)
and brains this baby should be a beau-
tiful genius!
Jerry Lewis is very serious about his
resolution and all of his fans are sure
hoping he keeps it. Jerry has promised,
honestly: “To take care of my health. I
was nearly gone,” Jerry admits after his
collapse with • virus pneumonia followed
by jaundice. “And it scared me into de-
ciding to relax. You don’t know how
precious it is to be well until you’re not
feeling good.”
And from partner Dean Martin, who
gave up his beloved golf to haunt Jerry’s
bedside: “In 1955 I’ll avoid doing anything
that will give anybody reason to think
that Jerry and I are busting up as a
team.”
Everyone’s counting on Piper Laurie to
break her resolution. They don’t think
she can keep it this year or any other
year. Piper can’t pass up a lost dog. Her
home is more like a kennel, so she’s prom-
ised in 1955, “Not to bring any more lost
dogs home.” Her second resolution may
be easier to keep: “I resolve never to
change the color of my hair.” With Piper’s
lovely red hair, this should be a cinch to
carry out. I’d also like to see Piper put
marriage on her list. It can be as satisfy-
ing as a career — even more! So take a tip,
Piper.
One guy who won’t be too unhappy to
see 1954 pass is Dale Robertson. It’s been
an unhappy year for Dale. He lost his
wife, he fought his studio and he com-
pletely neglected his deep ambition: to
write. “I’d rather be an author than an
actor,” Dale confided to me in one of his
rare all-barriers-down moods. “And I
resolve that in 1955 I’ll glue myself to that
typewriter and write!”
Marge and Gower Champion, in my
opinion, are one of the best dance teams
of our generation. But they have their
problems. They go into a dance routine
at the drop of a breath. At home, this can
be disastrous to surrounding furniture. In
the middle of a meal, while sitting in the
living room, if a mood hits, they start
dancing. “So,” Marge says, “from now
on we’re resolving to confine our dancing
to rehearsal halls.” And the stage, of
course.
For Tab Hunter, 1955 will be a terrific
year for him if he’ll be able to overcome
his big fault: He can never be on time.
If he’s supposed to be at the studio at
eight, something happens and he just can’t ,
seem to make it before nine. If he has a
date for lunch at one, chances are he’ll
arrive, with a forgive-me box of choco-
lates at one forty-five. Tab promises, and
he has his fingers crossed, to keep tabs
on appointments and buy a wristwatch
with an alarm on it. Then he’ll have to
make a new resolution to wind it!
I stopped by to see Mitzi Gaynor, and
her resolution includes a piggy bank called
“It.” “It is my resolution for 1955,” she
explained. “I just have to stop spending
money on clothes in order to save for a
family.”
Cleo Moore’s a good actress, kissing or
not kissing, but she resolved to clinch a
good solid acting role in 1955 and to reach
stardom within five years, or else she’ll
cancel her resolution entirely and fall
back on resolution number two: “To enter
politics in my native Louisiana.” Cleo’s a i
blonde with plenty of brains— and she uses s
them, too.
Chances are, some of these good reso-
lutions will be broken and will reappear
on next year’s list but, after all, that s the
sport in making them.
The End
64
I was afraid of my shadow
...now I am the most popular woman in town
Man on a Tightrope
( Continued from page 30)
his wife. Heads jerked back and forth,
watching the entrance, anticipating their
arrival. Five minutes later, the picture
went on; the seats remained vacant. The
Purdoms never arrived.
Why did Edmund Purdom fail to attend
his own premiere?
Rumor the next day blamed his absence
on a tiff with his wife, which left the young
Englishman sulking alone in his room.
Others said he was ill. Still others blamed
it on “first-night” jitters. Before accept-
ing unsubstantiated explanations, it is wise
to remember that even before “The Egyp-
tian” was finished, Edmund Purdom had
already become a part of the Hollywood
legend. His own personal story is fantas-
tic enough to make any rumor sound
plausible. However, those close to Ed-
mund and his lovely wife Tita do admit
that success has changed him.
Little more than a year ago, reject
studio files classified him as a tall, serious
young man, with dark wavy hair, brown
intense eyes, an olive skin and a fright-
fully British accent. If files were less per-
sonal they might have added, current
status: unemployed, poverty-stricken.
Today, Edmund Purdom is Hollywood’s
fastest-rising young star. Two studios
have already invested $15,000,000 in him,
and after pinch-hitting for two important
actors, Mario Lanza in “Student Prince”
and Marlon Brando in “The Egyptian,”
Edmund found himself famous before the
public even saw him on the screen.
But even a guy with the drive, stamina
and talent of Edmund has a hard time
keeping up with the sudden change of
pace. It is said that he is nervous, temper-
amental, frequently upset, frequently ill.
No doubt, these temperamental differences
were responsible for Tita’s divorce suit.
Suddenly, with success, with the attain-
ment of everything he and Tita had hoped
for when they barely struggled to keep
going, Edmund Purdom has discovered his
whole life has changed. Every personal
conviction has been challenged; every mo-
ment of his time monopolized; his privacy
completely shattered and his independence
restricted.
He loves to be with his family — Lilan
Ellery, two, and Marina Ann, six months —
he loves to just sit and listen to music, he
loves to tinker with anything mechanical.
Today with his new demands he has no
time. He’s a voracious eater, but when he’s
working, he can’t eat because he’s too ner-
vous— and these days he’s working con-
stantly. He detests unnecessary noise, can’t
stand being tied down by a clock, yet his
entire existence is regulated by the clock
and constantly surrounded by the un-
nerving noises of the movie set. A natural
athlete who once played rugby, cricket,
hockey, who swam, rode and played tennis
for relaxation, he now finds he is too tired
after a long day at the studio to enjoy
physical activity. While before his wife
and his home were the only, and the most
important, things in the world to him,
today he is surrounded by so many de-
mands, so many people, his leftover hours
were not enough to hold his family together.
Edmund’s overnight emergence as a star
also places upon him the added burden of
proving himself good enough to stay at
the top. He’s now appeared in five pic-
tures, having the lead in three. His next
is “The Prodigal.” But to date, Edmund
hasn’t seen any of them. “I did get a sneak
look, at some of the rushes of ‘The Egyp-
tian,’ ’ he said. “The experience fright-
ened me. If I’d been the executive I’d
never have hired me. . . .”
Aware of the gigantic bet which the
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CITY
65
Edmund is often attacked by a violent
case of the jitters. He wouldn’t be a bit
surprised, he said recently, if in a year or
so the M-G-M executives come around,
tap him on the shoulder and say: “Sorry,
old boy, but we guessed wrong. You’re
through.” For the first time in his twenty-
eight years, Edmund Purdom is asking
himself, “Can I do it?”
Co-workers, studio executives, friends
and acquaintances of Edmund Purdom who
know his story say there isn’t a possibility
that he won’t make it. The boy’s got too
much talent, too much drive, too much
sensitivity and willingness-to-learn to flop
out of the game. Says his dad about his
recent success: “I’m not at all surprised.
Edmund always was a determined boy.”
He was born, prematurely, Edmund An-
thony Cutlar Purdom in Welwyn Garden
City on December 19, 1926, determined, his
family says, to arrive on time to share the
Christmas festivities. He attended private
schools and came home on vacations just
frequently enough to dismantle all the
clocks, locks or whatever mechanical
gadgets were around. At this time, he was
determined to be an engineer. Later in
school he specialized in electronics, math
and science. It was while sitting over a
math examination that it suddenly oc-
curred to him that he wanted to act. He
put down his pencil, got up and left the
room. From that day forward, he was
determined to be an actor. He approached
the director of the Northampton Reper-
tory Company and asked for a job. Ex-
traordinary as it seems, he was hired at
once without any experience. At twenty-
one he got his first role, as that of a “forty-
year-old detective who never stopped
talking” in an Edgar Wallace play. In six
short months he appeared in four plays
before joining the Army for six months.
Following his discharge late in 1947, he
returned to repertory and did five plays,
then went to London where he won the
lead in a musical called “Golden City.” It
was while appearing in this musical that
he spotted, wooed and won a beautiful
blond dancer known professionally as Tita
Phillips. They married on January 5, 1951
with nothing more substantial to bank on
than Edmund’s determination that he
could, somehow, support her. An intro-
duction to Laurence Olivier got him, with-
out an audition, a small part in “Caesar
and Cleopatra,” which brought him over
to America.
The next period in young Edmund’s life
is called by him, “My Near-starvation
Period.”
When Edmund made his decision to
leave the part he had in Laurence Olivier’s
and Vivien Leigh’s “Caesar and Cleo-
patra,” then appearing in New York, and
accept Warners’ $600 advance and ticket
to Hollywood, the future looked rosy.
Practically every studio in Hollywood had
offered him a screen test. If the Warners
test flopped, he always had a chance at
another studio. So he sent for Tita, who
had remained in England.
Things didn’t work out at Warners and
his option was dropped. A few other leads
turned up and he tested for them but other
actors were signed. Nothing was happen-
ing. A long talk with Tita one evening
led to a unanimous agreement: They’d
stick it out until their visas ran out. Little
did they know how long and to what
lengths they would have to go in order
to live up to their promise to one another.
For things didn’t happen quickly for Ed-
mund here. This was hard on the nerves,
not to mention their slim purse.
By this time, he and Tita were expecting
their first child. Groceries were hard to
p come by because they were not permitted
by the immigration authorities to accept
work other than acting. Moreover their
was rapidly running out. Friends and
casual acquaintances came forward with
small loans. “I was literally a stranger
and they fed me,” he says. “Greater kind-
ness than people here showed exists in no
other place on earth.” With the small
amount that he could borrow, he and Tita
were able to pay the rent on the thirty-
dollar-a-month garage on Berendo Street
which they called home. They had no
refrigeration, only cold water, and they
furnished it with a bed and two chairs.
Tita lived in one dress and Edmund had
one shirt which Tita washed out every
night. Often eating depended upon an in-
vitation from an American friend or pawn-
ing Tita’s wedding and engagement rings
and her father’s watch. The tragedy of it
all was that both Tita’s and Edmund’s par-
ents were eager to help but weren’t per-
mitted to send money into a dollar country.
When it became apparent that there was
to be no money for doctor’s bills or the
hospital, Edmund, frantic with worry,
asked their great friend, Millie Gusse,
Panoramic casting director, if she could
suggest a charity hospital where Tita might
go. Appalled, Millie arranged to have her
brother-in-law, Dr. James Winsberg, take
care of Tita. He supplied her with pills
and vitamins and offered to deliver the
baby as a “professional courtesy,” since
Tita’s father and brother were both doc-
tors (Tita’s father had been attending
physician to the Sultan of Jahore).
Just a few days before Tita was to enter
the hospital, M-G-M sent for Edmund to
audition for a role in “Julius Caesar.”
Hardly believing his ears, he put on his
only shirt and hitched a ride as far as the
Fox studio on Pico Boulevard. After wait-
ing some time for another lift, he resorted
to hiking the rest of the way— a matter of
five hot miles. He finally arrived, tired,
dirty and hungry, but he won the two-
line, two-day part as the dutiful servant
who helped fatally stab James Mason.
With the $150 advance he borrowed
from his agent Paul Small, he went over
to the Culver City Hospital and arranged
for Tita’s entrance. Lilan Ellery, nick-
named Mrs. Doody, was bom a day later,
October 11, 1952. The $150 permitted Tita
to stay in the hospital three short days,
then she went back to her one-burner
stove and uninsulated garage.
The Purdoms’ troubles were not over.
They were still hungry. “There were times
during those dark days when we were
living in the garage,” Edmund remembers
now, “that the sight of people sitting up
at a counter in one of your marvelous
drive-ins, eating a big fat hamburger,
would send me stark, staring mad.” They
still faced deportation. “No contract, no
extension of your visa,” the Immigration
Service warned them. The difficulty was
they didn’t even have the money to return
to England. American taxpayers were
saved the expense of deporting the Pur-
doms when 20th stepped in and awarded
him the role of Brian Aherne’s first officer
in “Titanic” at $300 a jveek.
“You’ve heard the remark the great
director, Bill Wellman, made about hungry
actors being the best actors? Well, maybe.
I do know that when they tested me for
‘Titanic’ I pulled out all the stops. And
it was a good thing nobody left his lunch
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around. I’d have snapped at it like a wolf.”
Meanwhile, Metro, who had taken a
thirty-day option for a long-term contract,
learned that Zanuck wanted to sign him.
At the last hour, a few days before his
visa was to expire, they offered Edmund
a test. “You can imagine the strain I was
under when I made that test,” says Ed-
mund. The result was a contract, inked
and delivered the day on which the Pur-
doms’ visa died. The date is firmly fixed
in Edmund’s mind: December 20th, the
day after his birthday.
With his new contract, Edmund’s salary
was fixed at the tremendous sum of $350 a
week and he and Tita and Mrs. Doody
moved, with bed and chairs, to a little
apartment above the Sunset Strip.
Edmund was scheduled to play Greer
Garson’s brother in “Interrupted Melody”
when Greer quit the studio. Just about
the same time, another artist walked out
on another film, after making the song
recordings. The star was Mario Lanza and
the picture “The Student Prince.” What
happened next is part of film history. For
the next three months, Edmund’s world
consisted of dancing and fencing lessons,
rehearsing dialogue and learning to “sync”
to Lanza’s voice. The only time Tita saw
him was when she lunched at the studio
commissary. But he won the role. The
next two months were spent preparing for
the picture. When they finally started
shooting it took only twenty-three days to
complete. By the time it was finished,
Edmund Purdom was famous. He was of-
fered a test for Marlon Brando’s role in
“The Egyptian.”
So certain that he wasn’t going to be
given the role, Edmund took a brief vaca-
tion in Mexico with Tyrone Power. “But
I was waiting and desperately hoping,” he
says. “We were in a village about 100
miles outside of Acapulco when a call
came through from my agent. ‘Hurry up
and get back here,’ Paul Small yelled over
the wire, ‘You’re all set for “The Egyp-
tian.’” I nearly fell dead. Fate was liter-
ally showering me with favors.”
Fate has continued to be kind to Ed-
mund’s career. He has already finished
“The Prodigal” and “Athena”; his salary
is excellent. But, in turn, his personal life
has been shattered by Tita’s request for a
divorce. For the first time in their mar-
riage Edmund and Tita had financial se-
curity. But it is equally true that for the
first time they faced an intangible problem.
It was not a problem that could be solved
by working hard, skimping on food or
walking to work. The problem was per-
sonal and one of adjustment. It called for
a reshuffling of goals, a new approach to
living, a rescheduling of tomorrow. It al-
most called for a restatement of what Ed-
mund wanted. Since Tita filed for divorce,
Edmund Purdom is asking himself what
does he want, what is success, can he re-
gain personal happiness?
When recently discussing his rapid rise,
he said, “If I’ve had success I think it’s
only made me a little cynical. There is
such a thin line between success and fail-
ure. I know there are better actors than
I (and right now a lot hungrier ones)
walking the streets of Hollywood. Do I
think the pattern of one’s life is set in the
beginning? No. If you want something
desperately, you’ll eventually get it.”
And, in his own way, Edmund has an-
swered his own question: “Can I make
it?” For the memories of the insecure
months that have recently passed will be
dimmed and the confusion of recent suc-
cess will be smoothed out, if he sticks to
his belief: “Never be complacent about
yourself, even if you’ve been fairly suc-
cessful. And keep your head up always.”
Edmund may be walking a tightrope to-
day, but chances are he’ll make it.
The End
The Devil Is a Gentleman
( Continued from page 24)
ready. Can I come over to see you now?”
“I’m ready,” Charlotte assured him,
glancing at her watch with more than a
little irritation — Marlon was already ten
minutes late. “Hang on a minute,” Mar-
lon said. “It’s noisy in here. I want to
shut the door.”
Charlotte waited impatiently, holding the
telephone in her hand. Suddenly, she felt
as if someone else were in the room, a
sort of eerie, skin-creeping sensation came
over her, and she could feel her mouth go
a little dry. She hesitated to turn around,
but with the phone in her hand, she gath-
ered her courage. She swung around rap-
idly and screamed ... a rousing scream
which people only let out when they are
scared out of their wits. There stood a
man. But as suddenly as Charlotte
started screaming, she stopped and went
into gales of laughter. The man was Mar-
lon Brando. A sheepish, grinning Marlon.
Marlon had entered Charlotte’s house
through the open kitchen door, and spot-
ting the extension telephone in the kitch-
en, had picked up the phone and asked the
operator to ring it to check it. In the
living room, Charlotte heard it ring and
answered it as Marlon had anticipated.
This just illustrates one of a hundred play-
ful, human, interesting, sometimes touch-
ing, sometimes whacky things that can
happen when Marlon Brando is your
friend.
This same predilection for doing the un-
expected showed up dramatically when
Brando announced his engagement to
Josiane Berenger. He had met the pretty
young French model six months before in
New York and is reported to have asked
her to marry him within hours after their
meeting. She subsequently visited Cali-
fornia during the shooting of “Desiree” but
was carefully shielded from reporters and
photographers by Brando. She therefore
remained a mystery figure in the actor’s
life — noted by the alert columnists but
without detail of their relationship.
It was not until late October that the
news of Brando’s official engagement burst
like a bombshell on the small Riviera
town of Bandol, France, where the en-
gaged pair filed official notice of their in-
tention to wed. At the appearance of a
battery of newspapermen and photogra-
phers, Brando showed every sign of panic —
rushed his girl off on a sailboat ride to
escape the mob. Later he yielded to de-
mands for an interview, and said, “She
is the only girl I ever wanted to marry.”
With their hopes for peace and quiet
shattered by the press furor, Brando left
the Berenger home and headed for Rome.
His fiancee fled in the opposite direction,
heading for Paris, then New York by air,
with the understanding that the two would
meet in New York. Arranging her U. S.
visa in Paris, Josiane exclaimed, “I don’t
want to be a Hollywood housewife. I
want to study dramatics in New York.”
As in the romance of Debbie Reynolds
and Eddie Fisher, no wedding date has
been announced as we go to press. In
both cases, the motive is privacy. But for
such charming and colorful young people
as these, such a course is difficult in the
extreme — as those who know Brando well
can easily testify.
His friends, some new, some dating back
to his early days in dramatic school, weave
word pictures, ever-varying, ever-colorful
of the man who has become one of the
motion pictures’ finest actors. For in-
stance, there is the Saturday that Johnnie
Ray was feeling low and lonely. It was
one of those times when the California
sunshine was an irritant, draining a man
of energy instead of invigorating him.
Johnnie headed for Ocean Park, the Los
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Name.
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Address.
City.
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State.
67
Angeles equivalent of Coney Island, where
he could buy a ticket on the roller coaster
and at least feel the wind in his face.
Blind to everything but his own woes,
Johnnie climbed into his seat. Then, be-
hind him he heard a shout, “Hi, man,
what gives?”
Johnnie looked around into the impish
dark eyes of Brando. Johnnie had to
answer the grin on Brando’s face. One
ride on the roller coaster, then Johnnie
joined Brando and Sam and the rest of
the gang for a go at everything from pitch-
ing baseballs at cardboard milk bottles to
feeding lighted cigarettes to the fire-eat-
ing man.
But you don’t have to be a famous singer
like Johnnie Ray to enjoy Brando’s com-
pany. You can be a stevedore like Joseph
Conepo who worked in the “gang” in New
Jersey where “On the Waterfront” was
filmed.
“Have you ever seen how good Brando is
with kids? Like all the other youngsters,
my boy Joe, Jr., came down so we could
take a picture of him with Brando. Then
Joe got bashful. Marlon understood, but
more than that he knew how to handle
Joe. He let Joe stand around for a while
till he got used to everything, and then
walked over to him and asked if Joe
wouldn’t have his picture taken with him.
Little Joe had a whale of a fine time.”
While making “On the Waterfront,” the
stevedores picture him as being a “regular
guy” and in Hollywood, on the set of “De-
siree,” there was the same feeling. Be-
tween takes, he played chess or kicked
around a football with his stand-in, Dar-
ren Dublin, another pal from Dramatic
Workshop days. And he was downright
frisky with Dublin’s five-year-old daugh-
ter, Heidi. One day Heidi came on the set
with her toy sword, and Marlon picked up
a coat hanger and teased her through a
mock duel which he climaxed by clutch-
ing his side and pretending to fall down
dead. Dignity, cast and clothes be hanged!
His lack of concern with “what will the
neighbors think?” is an attitude which
stems from way back when. . . . Harry Bel-
afonte and Brando knew one another dur-
ing this period. Eight years and two suc-
cess stories later, they’re still close friends.
They met at the Workshop where Marlon
was an advanced student, already appear-
ing on Broadway in “Truckline Cafe.”
Harry was a beginner.
“I was one of the very few Negro stu-
dents in the school,” Harry says. “And
Marlon was one of the first students to be-
friend me.”
“Most of us had little money in those
days,” Harry continues. “Sometimes the
theatres helped out by giving the girls
usherette jobs, letting the guys work the
concessions. One way we were able to
take in everything playing on Broadway
was to pool our money and buy one the-
atre ticket. Maybe I’d see the first half
of the play and then Marlon would take
over after intermission. Sometimes it was
the other way around. Afterwards we’d go
to the local cafe where they’d let us sit
over a nickel cup of coffee (we could us-
ually afford a cup apiece) and compare
notes, each of us catching up with the ac-
tion the other had missed.”
P
68
Marlon and Harry also dreamed up a bit
of mischief together. In school there was
an actor who was having great visions of
success. He liked to give the impression,
both in school and out, that his dreams had
already come true ... he belonged to the
theatah and, this being the case, the the-
atah was extremely fortunate.
As in almost every drama school, the
workshop classes rotated in assignments,
one week Marlon and Harry might be
supporting players, another week star per-
formers, another week the fellows who
cleaned up the stage. For this particular
week, Marlon and Harry were appointed
members of the backstage cre-^ and the
“theatah fellow” was the star of the show.
Sir Thespian busied himself thinking up
unexciting and rather unnecessary chores
and assigning them to the pair.
The day arrived when the workshop
group was staging “Twelfth Night,” and
Sir Thespian was required to wear a
padded stomach for the role. In the be-
lief that all work and no play makes for
very dull boys, Brando and Belafonte got
hold of some itching powder and lined
the padding with it.
So on this warm summer evening, un-
derneath the hot stage lights, Sir Thespian
made his entrance. Immediately he be-
came a pretty miserable man. Unable
to scratch through the thickness of the
padding, he managed to squirm through
his role and come off roaring.
Next day a conference was held to find
the culprits. However, to the delight of
the entire student body, they were never
discovered — until now.
School. days over with, Marlon went on
the road with the Katherine Cornell show
and Harry went into night clubs. They
kept track of each other haphazardly, with
Marlon dropping into the club where Bela-
fonte might be singing or Harry going
back stage if he happened to be in the
same town when Marlon was on the road.
Belafonte tried pop singing and found it
unrewarding and turned to folk singing.
With a writer and another actor, he opened
a restaurant in Greenwich Village. Map-
Ion was a frequent visitor — and Harry was
always delighted to see his old friend and
not just for friendship’s sake.
“He’d always head for the kitchen so
we could have a talk,” Harry says. “To
my delight, while we talked, he’d start
doing the dishes and if I could keep him
talking long enough, my kitchen would be
clean by the time we finished.”
There were frequent reunions when
Harry and Wally Cox were appearing at
the Blue Angel. Wally and Marlon were
going through their motorcycle stage —
both thought motorcycles were the great-
est, but not Harry! Harry didn’t like to
think about them at all. After repeated
urgings, Harry succumbed to a couple of
rides. “I finally came to the conclusion
that if we were ever to dissolve our friend-
ship, this was the time.”
Brando’s and Belafonte’s professional
paths have crossed numerous times. When
Harry came to Hollywood to appear in
“Bright Road” for M-G-M, Marlon was at
the studio making “Julius Caesar.” “He
was the only person I knew in Hollywood,”
says Belafonte. “And it was as it had
been when I was a newcomer in school.
He looked me up on my first day dn the
lot and it was like old home week.” Harry
was booked into the Mocambo while Mar-
lon was in Hollywood shooting “The Wild
One,” and they met again when Harry re-
turned to California to appear in “Carmen
Jones.” Marlon was making “Desiree” at
the time.
It was during this last period that Harry
and Marlon stopped by a jazz club one
Saturday night and spent the entire eve-
ning listening to the music. Since they
wouldn’t be working the next day, when
the club closed, they asked some of the
musicians if they happened to know of a
jam session where the local bandsmen
might be gathering for an after-hours
musical spree. The musicians gave Mar-
lon the name of a place, and Brando and
Belafonte arrived to discover that there
would be no music that night. The mu-
sicians were heading home.
“No point in waiting around,” said Mar-
lon. “Let’s go.”
As they reached the door, however, a
man in a blue business suit appeared and
stretched his arm across the exit. “You
don’t really want to leave now, do you?”
he asked pleasantly enough.
The place was being raided.
However, when the police discovered no
liquor was being sold, they departed quiet-
ly, leaving Brando and Belafonte breath-
ing a sigh of relief. Brando especially
didn’t need any more crazy publicity. In-
cidentally, in spite of Brando’s interest in
jazz and bongo drums which he plays ex-
ceedingly well, Marlon neither smokes nor
drinks. On his really “wild nights,” he
might indulge in a ginger ale — but then
not more than one glass.
Much has been made of Brando’s sensi-
tivity to the publicity he received when he
first came to Hollywood and his insistence
that he be pictured only as the serious
artist he is on stage or screen. The fact
remains that in Hollywood or outside it,
standing on one’s head in a commissary (as
Brando once did), answering a newspaper
person’s questions in French (as Brando
once did) is real gone behavior. Bela-
fonte claims that Brando is a tremendous-
ly sensitive guy and that his unconven-
tional behavior is no deliberate disorder
designed to make him a colorful motion
picture star. Take Russell, the raccoon.
Reams of stories were told about Marlon
having Russell as a pet. According to
Belafonte, maybe movie stars don’t have
raccoons for pets but a lot of other peo-
ple do. They make darn good pets. More
than this, at one time Marlon was ex-
tremely interested in zoology and used to
spend days at the Central Park and Bronx
zoos. During this period, Marlon bought
Russell and became very fond of him as
a pet. However there was so much com-
ment that Marlon finally gave him up.
Brando has always believed in doing
things the way he wants to do them — the
way he can believe in doing them. For
instance, at one time he was very friendly
with an artist whose works were being
displayed in one of the New York gal-
leries. Despite this sign of success the
artist was flat broke, so Marlon’s pals came
to help out with a collection they were
taking up for him. Brando was a success
in “A Streetcar Named Desire,” and his
friends were shocked when he refused.
No one could understand why. They ar-
gued that he liked the painter, that the
artist would repay the loan as soon as he
could. Brando wouldn’t budge and his
friends told him off in no uncertain terms.
One day soon after, the incident glossed
over, Brando’s usual gang was up at his
apartment and there, on the walls of the
apartment, were his artist friend’s paint-
ings— $1000 worth.
Brando felt that the worst thing he
could have done would have been to lend
money to his friend, when what he really
needed for a boost in his morale was a few
sales.
“That’s what kind of a guy he is,” Bela-
fonte says, “that’s the way he thinks.”
Both Marlon and Harry belong to the
same “school” of artistic thought. Both
believe in calling upon life itself for au-
thenticity. Brando has learned much
from living and he enjoys doing things he’s
always done — he won’t let Hollywood or
anything else keep him from continuing to
enjoy these things — even at the risk of
being considered “not with it.”
There’s an old saying, “If you want to
know me, come live with me.” Brando,
signed for the role in “Viva Zapata,” went
to Mexico to live for a month. Signed for
“On the Waterfront,” he went to work
with longshoremen. He wants to project
the identity of the person he is portraying
. . . hand his public a real slice of life.
He forces his audiences to think and to
listen . . . and to forget the big bag of pop-
corn.
The End
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( Continued from page 29)
we say — a solid bed of roses — not at all.”
“Did you ever dream then that you’d
become a successful singer and then a
famous movie star?” the hairdresser asked.
“Are you kidding? The only thing I
dreamed about was how to cook a meal!
“Experiences such as this play a very
important part in one’s life,” Doris added
thoughtfully. “When I think of all I have
today, my wonderful home and family,
peace of mind and contentment, it makes
me feel very humble and grateful. I hope
I’ll remember to count my blessings, al-
ways.”
Like Doris there are many other stars
who possess a capacity for gratitude and
appreciation that knows no bounds. Rock
Hudson, for example, is a rugged realist
who counts his blessings for a very special
reason.
“Occasionally I get upset and want to
blow my top,” the big fellow confesses,
“but when this happens a little safety valve
reminds me that I’ve never had it so good.
This began back when I served as an avia-
tion machinist in Uncle Sam’s Navy.
“Heading for the Samoa Islands where
I was land-based, I remember a hot, sticky
evening, almost unbearable. All of us were
going through a rough adjustment period.
Some were homesick and each of us won-
dered what was waiting ahead. How I
longed to be alone.
“It sounds incredible, but when I asked
permission to anchor my hammock to the
highest spot I could reach, it was granted!
I promised myself, I’ll remember to be
grateful for my freedom and never com-
plain about anything again.”
Breezy, bosomy Terry Moore has been
publicized as an uninhibited extrovert.
But there’s another side to the little lady
who makes headlines. This story would
never make the front pages, but it is a
story that touched Terry’s heart. Terry
was in a Korean hospital last Christmas.
Even though her mother was with her,
Terry was still a long, long way from
home, friends and the beloved festivities
of the holiday season.
“I guess I was feeling a little sorry for
myself,” Terry admits candidly. “Every-
one was wonderful to me, but our schedule
had been changed and something had hap-
pened to my mail. All those Christmas
cards I looked forward to receiving from
friends were somewhere en route. It just
doesn’t seem like Christmas, I thought.”
That same day, Terry went through the
wards greeting hospitalized vets. Finally
she stopped at the bedside of a soldier who
was lying there with a smile on his face.
Empty eyes that would never see again
stared straight ahead.
“You got here at the right time,” ex-
claimed the soldier optimistically. “I just
received a whole bunch of Christmas cards
from home. Will you please read them to
me and describe how they look?”
A humble Terry read and described
the typical Christmas card scenes — and
was grateful.
A mother’s faith and determination to
give her son a healthy body and the right
to live a normal life gave a boy named
Tab Hunter the chance to become a star!
“The story is familiar about my Mom’s
struggle to support my brother Walter and
me,” Tab says, “but very few people know
I was so bowlegged when I was born, the
doctors said it was likely that I would be
deformed when I grew up. Poor Mom! As
if it weren’t tough enough that she had to
go out and work so hard, she had to face
the fact that her son needed more than
ordinary care. She had every reason to
accept the doctor’s verdict, but that’s not
her way. Mom would not!
Count Your Blessings
“At the time, she was a physical thera-
pist for the Matson Line and often was
away for weeks. But no matter how tired
she was, when she came home she de-
voted hours to massaging and manipulat-
ing my legs. All her faith seemed to pour
out through her strong hands.
“As we grew up, Mom automatically
thumped our backs when she’d pass near
us. Mine, as a reminder to stand straight —
Walter’s, just for good measure! At thir-
teen I stood six feet and a half-inch tall.
When I tested for my first screen role
opposite Linda Darnell in ‘Island of De-
sire,’ Steffini Nordli, who’d written the
original story, said: ‘This is the boy I want.
He stands so straight and tall he’s right
for the part.’ Did Mom get hysterical
when I broke the good news? ‘I could
have told you it was going to work out
this way,’ she calmly said. And somehow
or another, like so many mothers, she was
right.”
Brooklyn born and bred, Susan Hay-
ward’s heritage was a stout heart and
relentless pride. She grew up, understand-
ably, exuding an air of independence that
masked her innermost misgivings. But
Susan is capable of deep concern and she
was deeply concerned over one of many
problems resulting from her recent di-
vorce.
When Susan Hayward’s twin sons joined
the Cub Scouts and she became a Den
Mother, it was a very important time in
Susan’s life. Her Friday nights were re-
served for those parent-scout meetings at
the Dixie Canyon schoolhouse in San
Fernando Valley. She would let nothing
interfere, but as meeting time approached
each week, something happened in Susan’s
heart which was reflected in her face. Her
young sons detected it and bluntly asked
TO REACH THE STARS
In most cases your letters will reach
a star if addressed in care of the
studio at which he made his last pic-
ture. If you have no luck there, try
c/o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Cal.
Allied Artists, 4376 Sunset
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Columbia Pictures, 1438 N.
Gower Street, Hollywood 28
Samuel Goldwyn Productions,
1041 North Formosa Avenue,
Los Angeles 46
M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38
Republic Studios, 4024 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 W.
Pico Blvd., Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City
Warner Brothers Pictures,
4000 West Olive Avenue, Burbank
* ★
her to explain her sad expression.
“It’s this way, boys,” Susan said, trying
to express her innermost thought. “Some-
times people think actresses are ‘different.’
They aren’t relaxed with us and they don’t
treat us naturally. More than anything
else I want to be like all the other mothers
at your meetings. I am no different and I
just wish there was some way I could let
everyone know this is the way I feel.”
The Barker twins looked thoughtful and
after a whispered conversation they con-
fronted their mother.
“Why don’t you take a cake and a big
pitcher of lemonade to the next meeting?”
they suggested. “Then you’ll be like all the
other mothers and you, won’t have any-
thing to worry about.”
Susan did. Susan is no longer worried!
Despite her obvious charms, Virginia
Mayo felt lost and insecure when she
arrived in Hollywood, and a big studio
executive behind a highly polished desk
pulverized her with fright. Hurdling this
obstacle of fright, the successful beauty
believes, is her number one blessing.
“I was under contract to Sam Goldwyn,”
says Virginia, “and it was a crushing blow
when he agreed to take up my option if
I’d forfeit my raise. Somehow I had the
courage to leave, but by the time I signed a
contract at Warner Brothers, any studio
executive looked like an ogre to me. I
knew no one on the lot and lived in fear
of being accused of some imaginary wrong-
doing.
“Whenever I went to the studio, I ran
into a pleasant-faced man who always
smiled and spoke. It got so I considered
him my one friend — a friend who prob-
ably held some small job, I thought.
“Then I received that fatal call to report
to discuss my first assignment. I was sure
I’d get brushed off. Isn’t it awful what
negative thinking does to one’s morale?
I think you know the rest of the story.
Behind his highly polished desk sat my
friend — the producer I was to see. All my
feeling of inferiority slipped away and it’s
never returned. I’ve never stopped being
thankful.”
Loving life with warm enthusiasm, fu-
nerals fill Tony Curtis with sadness that
clings indefinitely. Why then did he at-
tend the funeral services of Universal
studio’s Chief of Police Ernie Vache? Tony
didn’t have to go. He wasn’t a close friend.
“I was there,” says Tony, “because I
always try to count my blessings and Ernie
certainly blessed me with kindness when
I first arrived in Hollywood. Like all kids
who played on the Bronx streets, I cringed
at a cop’s uniform. When I checked in at
U-I, a pass was supposed to be at the gate.
It wasn’t there. Being such a greenhorn,
my knees knocked when Ernie walked
toward me. I expected to be arrested —
expected everything a kid’s imagination
could picture from a policeman. He
listened to my story, believed it and let
me come on the lot.
“From that day until he died, Ernie
greeted me each morning with words of
encouragement. When the studio kept me
too late to catch the last bus, he unlocked
some famous star’s dressing room and let
me sleep in it all night. Ernie was a big
man, an understanding man, with a won-
derful smile that always set me up for the
day. I went to his funeral because it was
the last time I’d have the chance to express
my gratitude to someone who was there
when I needed him most.”
Count your blessings? Sure. Tony, Vir-
ginia, Tab, Terry are only a few persons
who realize that the kindness of others
makes a good today out of the struggles
of yesterday.
The End
A Wonderful Thing
Happened Today
( Continued, jrom page 27)
slow in getting started, for except for a
letter from Eddie when he was in Korea,
it took them three years to get together
again — as Debbie explains, “He just didn’t
ask me.”
When they met for the second time last
spring while Eddie was touring the
M-G-M studio with Joe Pasternak, it was
obvious that they were “in key” this time
and Eddie seriously impressed, for he
asked her for her phone number. Debbie
must have been equally impressed, for
despite an already full little black book,
she says, “I gave the telephone number
to him.” She didn’t have to wait long for
a call. Eddie telephoned her the next day
and continued to call regularly. Long talks
and gentle kidding on the phone, though,
were all that happened between the two
for some time. They didn’t date, for as
Debbie now incredulously admits, “I
didn’t know anything about him.”
And then one evening in June, while
Debbie was finishing dinner, she received
a long-distance call from New York. It
was Eddie. Could she save him an evening
— the seventeenth of June? She could, she
replied. And this is where their story
begins. . . .
For unknown at the time to the pixyish
ball of fire, this was not only the opening
night of Eddie’s Cocoanut Grove show but
she was his date. And this was also to be
the opening night of their romance. “When
I marked the date on my calendar, I hadn’t
realized what the seventeenth was. Then
one morning I was reading in Variety all
about Eddie Fisher’s big opening at the
Cocoanut Grove on June seventeenth. I
nearly died. I said to Mother, ‘I’ve nothing
to wear. I’ve got to have a special gown.’
On opening night, dressed in a lovely red
formal that her mother had made, Debbie
sat at Eddie’s table along with her par-
ents, his dad and his best friends. Who
knows exactly when during that evening,
as she sat listening to Eddie sing to the
biggest opening-night audience the Grove
has ever had, love stepped in?
Perhaps it was when Eddie sang his
favorite song to his dad, “Oh! Mein Pa-Pa”
and Debbie sensed the deep loyalty and
sincerity Eddie has for those he loves.
Perhaps for Eddie it was when Debbie,
starry-eyed and aglow, pushed forward to
congratulate him, full of enthusiasm and
pride, so willing and eager to make his
night a complete success, to share with
him the excitement of the evening. When-
ever love entered, neither Debbie nor Eddie
know. But they will admit that it sneaked
in that evening. “We just kept grinning at
each other like two idiots. And the first
thing you know,” says Debbie, “we were
seeing a lot of each other. And you know
how that is. You sort of get the habit of
being together and then all of a sudden
you know that you like the habit real
weH.”
The “habit” included seeing Eddie every
single day, forty-two times, for the entire
six weeks he stayed in Hollywood. It in-
cluded a chaperoned weekend at Las
Vegas, luncheon at the Brown Derby, inti-
mate little dinner parties and big parties
like Debbie’s “Susan Slept Here” preem.
For Debbie it meant stopping at Eddie’s
Benedict Canyon house on the way home
from work for a quick chat, dancing with
Eddie singing “I Need You Now” softly
into her ear, holding hands in the movies
and sharing a Coke after his Hollywood
Bowl concert. It meant exchanging pres-
ents. For his birthday, Debbie gave Eddie
gold cuff links inscribed: “A wonderful
thing happened today — You.” It wasn’t
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Debbie’s birthday, but Eddie sent her a
Coke machine equipped with his favorite
soft drink.
By the time Eddie left Hollywood for
his European engagement, the little girl
who didn’t want to fall in love (she never
tried catching the bride’s bouquet because
“I thought it might be bad luck”) was
already caught in love’s clutches.
From shipboard, Eddie called every day;
from Europe he called as often as he could
get through to her, and back in Holly-
wood, Debbie’s friends realized how seri-
ous it was when she discontinued her long
date line and attended only necessary
Hollywood functions with Eddie’s friend
Joey Forman.
It was during this trip, too, that Milton
Blackstone, Eddie’s manager and closest
friend, said, “I think Eddie finally realized
his feelings during this trip. He discov-
ered in Rome that he missed Debbie very
much and telephoned her as constantly as
he could get a call through. Not that there
seemed to be any doubt about his feeling
before. I’m sure, it just crystalized when
he realized how far away he was from
someone he was so fond of.”
By this time there wasn’t a single Reyn-
olds or Fisher fan who wasn’t waiting with
bated breath to hear what was going to
happen next. An extension phone was in-
stalled in the Reynolds’ Burbank home to
handle columnists’ demands for informa-
tion, and Mrs. Reynolds had to lav down
the law, “Mary Frances, there will be no
telephone calls, made or answered, during
dinner hour.”
When Eddie returned home from his
two- week engagement in London (with a
quart of Arpege perfume and a “good
conduct medal” for Debbie), he deftly
evaded a direct answer to questions: “How
serious is it? Are you engaged?” “I’ve
only known Debbie for six weeks,” he
said. “And that’s not long enough to talk
about marriage — a sensible lasting mar-
riage.” But his enthusiasm couldn’t be
completely controlled and a wise world
smiled knowingly as he blurted out. “Deb-
bie has everything, and she hasn’t changed.
She’s kept her two feet right on the
ground. She has so much talent. She’s so
intelligent. She’s honest. She’s sincere.
She’s fun. She’s just a wonderful — won-
derful girl ... As for marriage, I don’t know
if Debbie loves me that much. . . .”
Debbie, shyer, merely said, “Yes, I am
going ‘steady’ with Eddie, but there’s no
engagement.”
Mrs. Reynolds would only add: “It may
happen some time in the future — but it isn’t
true now.”
Milton Blackstone was more direct:
“I’m certain they have talked about mar-
riage. The romance is very, very serious.”
And a new romance was born and tick-
ered across the nation.
Anybody who saw the radiant pictures
of the five-foot-one-and-a-half-inch Tex-
as bombshell when she stepped off the
plane with her mother and greeted Eddie
at Idlewild Airport knew that what these
two youngsters felt for one another was
important and serious.
And in every way, since they first began
dating, Eddie and Debbie have handled
their relationship with dignity and good
taste — not an easy thing to do with mil-
lions of eyes eagerly watching them.
But to anyone who knows Debbie and
Eddie this is no surprise. Behind those
long-lashed saucer-blue eyes and perpet-
ual bounce, there’s a very mature Miss
Reynolds, who’s seriously concerned with
her career and her future. Since she was
found in a tattered old bathing suit be-
hind the title of “Miss Burbank” seven
years ago, Debbie has worked extremely
hard at her career and at “being decent,
honest and aboveboard.” In Hollywood,
as in other communities, this isn’t always
easy. But at twenty-two, little Miss Reyn-
olds finally has those dancing feet planted
firmly on the ground. She knows where
she is going and, what’s more important,
knows what she wants out of life. Part
of those dreams include a marriage that’s
as solid as her mother’s and dad’s. Being
wise, both Eddie and Debbie realize that
such a love can only be built upon a firm
foundation. They hope that they are build-
ing that foundation together now. This is
the reason why Debbie was insistent that
her mother come east with her to meet
Mrs. Kate Fisher, Eddie’s mother. She
felt both families should like one another,
too. And while the young ones saw the
town together, Mrs. Reynolds and Mrs.
Fisher got acquainted.
The results were great. Both mothers
got along famously well. In fact, all four
seemed so completely delighted with the
situation that it’s a tossup which family was
prouder when Mr. and Mrs. Reynolds an-
nounced the engagement on October 19.
This seems to be one storybook romance
with no serious complications.
For one thing, both Eddie and Debbie
come from the same background and share
about the same interests. Born Mary
Frances Reynolds (which is what Eddie
calls her in private) on April Fool’s Day,
1932, in Texas, Debbie moved to California
at seven when her dad, a carpenter for the
Southern Pacific Railroad, was transferred.
It was during the depression and money
was scarce. She never seriously thought of
the movies then, except as a nice place to
go to Saturday afternoon, until her imita-
tion of Betty Hutton at the local movie
house won her the title of “Miss Burbank
of 1948” and caught the watchful eye of
a Warners talent scout.
Without much warning, at 16 Debbie
suddenly found herself in the movies. She
admits now that she wasn’t convinced she
was meant for them, and it took her a few
years in the “business” before she willing-
ly traded her gym-teacher dreams for
those of a movie beauty. In “Susan Slept
Here,” Debbie “clicked” and there should
be no stopping her climb now. She has
refreshing cuteness, spontaneity, a talent
for singing, dancing and mimicry and has
been called “a born comedienne.” Debbie
hasn’t changed much, not even “gone Hol-
lywood” a little. She continues to live with
her family in the same modest house they
bought when they first arrived from Texas.
A large wardrobe (“Father had to enlarge
the closet space in my room twice”) and
a swimming pool in the backyard are the
only evidence of fame. Mrs. Reynolds still
makes Debbie’s clothes.
Eddie had to make his own way, too.
He was born Edwin Jack Fisher (Debbie
likes to call him Edwin Jack) in Phila-
delphia’s south side on August 10, 1928,
one of seven children of Kate and Joe
Fisher. He can remember vividly how his
dad struggled to keep them all fed and,
out of desperation, got a horse and cart
and huckstered vegetables and fish up and
down the Philadelphia streets. Even when
Eddie went along to help, the music inside
him could not be silenced. And many
Philadelphians can still remember today
the thin, serious-faced lad with the beau-
tiful voice who used to go up and down
the streets singing out the daily vegetable
specials. Since there was never much
money in the family, Eddie is largely self-
taught. He continued to plug away at his
dream “to make music his life,” and by
the time he was 18, he was singing at the
Grossinger Hotel. Two important days in
his career are October 1, 1949 when he cut
his first disk, “My Bolero,” and the May
evening in 1950 when Fran Warren had
to cancel a date at Bill Miller’s Riviera
Club in New Jersey, and Eddie filled in.
The day after his Riviera appearance, th
critics said a new star was born and, i
the five years since he made his first rec
ord, he’s chalked up 19 consecutive hit
selling more than 15 million records.
Every young romance has its probleir
and, being in the public eye, Debbie an ;
Eddie have a few more than averagi ■
However, these are minor and Debbie an
Eddie don’t intend to let them wait t
erupt later into a schism.
Number one is their separate career; r
While a great deal of their understandin
and interests stem from their similar ca
reers, they must face the fact that thes ;
same careers are responsible for keepin
them a nation apart.
While Debbie’s seven-year contract wit
M-G-M will keep her in Hollywood, sh
hopes there may be opportunities in Ne\
York on the stage and tv when she isn ?
busy in a picture. “I would love to do
Broadway show, if anybody wants me t< ;i
I’ve loved working on a stage in front c ;,i
live people. And the theatre would pu
me in New York.” When asked about hi i
Coke Time show being done from Holly ::
wood, Eddie has said, “We’re going to tr; i
to arrange it. At least some of them.” iS :t
these don’t work out, Debbie is ready t sc
compromise. “If both careers go on a ful ii:
schedule, it won’t work. One of the tw< r
will have to give up a few things they’v |i
been doing in the past — and the on ,t:
should be the girl. After all, love is . B
state of being together and sharing thing
as well as an emotional relationship.”
Eddie admits once saying, “Love an<
show business are just like oil and water.
They don’t mix, but today he just smile
confidently and says, “She’s the greatest.
With that attitude, they’ll find a wayj
Rumor has it that Eddie’s managers an
worried that marriage might blitz the
faithful fan following Eddie now has, am
they frankly are not too pleased about th<
prospects of his marrying. Could be, bu
the reactions of both Debbie’s and Eddie’,
fans have been just the opposite. They fee
pretty much the way Eddie’s mom die
when he brought Debbie home to dinner
“They’re right for each other.”
Personally, they seem in tune. On chil-
dren: they agree, “There must be many.’
About money: no problem. Eddie tool
home $750,000 last year; Debbie’s month!;1
pay check adds up to a nice four figures'
About the wedding date: Debbie’s beer
quoted as saying, “I’ve always wanted ;
June wedding.”
In fact, about the only serious problen
in their presently blissful lives is thei:
lack of privacy. “Ever since Eddie and
fell in love I’ve had even less privacy thai
before,” says Debbie. “So many people art
cynical and don’t believe in young love
They seem to think all this is a publicit;
stunt. I’m embarrassed and annoyed to se<
the avalanche of press at the airport o:
wherever we go. I feel that two younj
people in love need a little privacy. I don’
know how these things get out, but ever;
little thing we do or plan, people find out
I don’t know how they do. I want so mucl
not to make a cheap impression about th<
feelings we have for each other.”
Well, Debbie, we want to reassure you
There’s no cause for worry. You haven’t
In fact, you and Eddie have done some-
thing wonderful for a lot of people. You’v<
put that song in our heart and a lilt in oui
walk. And because of you a disillusionec
and disheartened old world suddenly founc
that things are not so bad as they seen
when there is room for love like yours
We hope your romance ends the way al
young lovers wish — in a long, happy life to-
gether— and we want you to know tha
something wonderful happened that day
to all of us, the day you fell in love.
The End
Rock Hudson
( Continued, from page 41)
3 was to tell reporters shortly after his
'rival in New York. This had been his
rst real vacation after several years of al-
ost uninterrupted work. He’d gone to
eland to make “Captain Lightfoot,” but
ad found time both before and after the
Iming for sightseeing and fun on the
ontinent. No, he hadn’t been homesick
hile he was away; he’d been too busy
6 >r that. Only now, as he was gliding to-
1 ard his native soil, did he feel the pang
Pi f homecoming. He’d kissed the Blarney
tone while he was in Ireland, and later
e was to talk volubly about his trip to
il hoever was willing to listen, but at the
''f jioment he was too choked up to say much.
Ist | Perhaps, as he was approaching New
0 fork, he was thinking of another fairy-
1 tad city built on the water’s edge — Venice,
fe’d loved Venice. Exploring her canals
P y gondola and motorboat, strolling
l trough her streets, feeding the pigeons
l!! i St. Mark’s Place, he’d loved her gaiety,
P nd color and scenic beauty. He’d had fun
t the Lido, Venice’s famous beach and
3sort area, water skiing on the deep blue,
fo iirror-smooth Adriatic. And he’d attended
le film festival with Scott Brady, the only
' ther Hollywood representative there.
» fenice was wonderful.
But Rock also remembered the blind,
'f tagged beggar groping his way through
ne of the busy streets. He’d been in a gay,
n arefree mood and the sudden sight had
r tarred him out of it, he couldn’t say why.
It [‘here had been the painfully thin little
i ower girl, going from table to table sell-
)j;!ig her wares; and — in Rome — the bent old
it /oman drawing a bucket of water from
1 me of the fountains, right in back of
n tome’s most luxurious hotel. The sights
Lad registered, but only now, as he was
« assing his Lady of Liberty, did he grasp
heir significance.
K I “We’re taking too much for granted. We
i jon’t know how lucky we are in this
ountry,” he was quoted later. Rock, re-
urning from abroad, realized it was for-
] unate indeed to be born an American,
i Rock, too, had known hard times as a
)! oungster. He’d worked in a grocery store
lifter school, carrying packages out for the
ustomers, and he’d had a paper route. The
» ittle he earned in these jobs wasn’t spend-
ng money. He gave it to his mother to help
i
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73
BY FLORABEL MUIR
HOLLYWOOD
WHISPERS
everybody’s still whispering about the
real cause of the Marilyn Monroe-Joe
DiMaggio divorce and wondering if
20th Century-Fox can sit on the story
forever.
•
. . . About the strange news from James
Mason, via wife Pamela, that he’s re-
tiring from acting after forty-six pic-
tures because, of all things, he wants to
be a producer and take things easy . . .
About the deaf ear turned by Gloria
De Haven to the reconciliation plans of
Marty Kimmel . . . And the new evi-
dences of domestic tranquillity emanat-
ing from Gary Cooper and his Rocky.
•
. . . The announced parting of Linda
Christian and Tyrone Power and Ty’s
haste to settle the whole matter as
quickly as possible . . . And the an-
nouncement of Vanessa Brown that she
and Dr. Robert Franklyn are no longer
happy. There seems to be no chance of
a reconciliation — although the doctor
seems willing.
•
. . . About the new-found happiness of
so many of Hollywood’s younger set
with Debbie Reynolds and Eddie Fish-
er, Mitzi Gaynor and Jack Bean, Carol
Ladd and Dick Anderson, Janie Powell
and Pat Nerney, Pier Angeli and Vic
Damone, Vera-Ellen and Victor Roths-
child, Guy Madison and Sheila Con-
nolly pledged.
•
. . . And the teetering marriage of the
Edward Purdoms ever since he got his
big chance in “The Egyptian” . . .
The unpredictable romance of Liberace
and pretty brunette Joanne Rio . . .
About Susan Hayward and Richard
Egan who make like they really mean
it — and may mean it.
Susan Hayward and Dick Egan aren’t talking!
out with the skimpy family budget. Once,
he and his mother lived for a whole week
on nothing but bread and potatoes. His
mother had too much pride to ask her
family for help, but one day his uncle Jim
stopped by and saw the situation. “Is this
all you have to eat?” he asked, and without
another word went out and brought back
a big basket brimful with groceries, in-
cluding some candy for Roy. And always
his mother managed to scrape up a dime
to send him to the movies on Fridays when
all the other kids went. They were poor all
right, but it wasn’t the grinding poverty
he’d seen abroad. Poverty without hope.
And there was another difference, one
that meant even more. There was equality.
To many people abroad equality has be-
come a shopworn slogan, lacking real
meaning, but for Rock it had once again
all the brightness and luster the idea had
had for our forefathers.
Rock was born Roy Fitzgerald in the
ritzy town of Winnetka, Illinois, where his
father had been a garageman before his
parents were divorced. Being a poor kid in
a rich town was no barrier for Roy, how-
ever. He was one of the crowd, going to
the same school, being invited to the same
parties, going to the same movies and hav-
ing his cokes and hamburgers at Cooley’s,
the soda fountain where all the other kids
used to hang out. And when his friends
took dancing lessons, the mother of one of
them paid for Roy’s. The day he graduated
from New Trier High School he could face
the future on equal terms with all his
school chums. Just because his folks didn’t
have much money didn’t mean that Roy
belonged to an inferior social class. Equal-
ity for Rock was more than a slogan.
Perhaps that helped him get on so well
with Europeans. He didn’t patronize them.
“They’re the friendliest people in the
.world if you try to meet them on their
own ground, sort of make an effort to speak
their own language,” he said.
Rock did just that, and it was no effort
for him. He enjoyed the sense of adventure
and excitement he derived from being
abroad, hearing foreign languages spoken
around him, seeing foreign customs and
foreign surroundings. Instead of compar-
ing what he found abroad to what he’d
left behind, he plunged into the foreign
scene with the same zest with which he
plunges into the sea when he’s surfboard
riding at Laguna Beach. Differences de-
lighted him.
In Florence, he stayed at a small pen-
sione, a tourist boardinghouse, in a room
with an old-fashioned brass bedstead, a
washstand in a corner, and without a pri-
vate bath. But he liked that room. The
window overlooked the river Arno, right
near the Ponte Vecchio, the famous old
shop-lined bridge. Instead of complaining
about the lack of modern comforts, he was
thrilled to be in an atmosphere that was
so different from home.
And he put his mind to learning a little
of the language of each country he visited,
picking up a little French and a little
German, and more Italian. He has an ear
for languages and an actor’s facility for
verbal mimicry. At the end of his stay in
Italy he could rattle off Italian phrases like
a native. “It’s not so difficult learning
something you like to do,” he would com-
ment on it to his amazed listeners.
Rock is an expert, of course, at learning
what he really likes to do. In his first pic-
ture, “Fighter Squadron,” he had only one
line to speak. “You ought to get a bigger
blackboard.” He fluffed it thirty-eight
times, saying, “You ought to get a bligger
back board,” before he got it right. How-
ever, in his most recent picture, “Magnifi-
cent Obsession,” he was acclaimed a first-
rate dramatic actor.
In planning his vacation, it would have
been easy for Rock to follow a Cook’s tou
of the famous places, staying at big luxur
hotels only where he could have rubbei
elbows with the international set. But Rod
wanted more than that. He really was in
terested in the countries and the peopL
he visited and wanted to see as much o
them and get as close to them as possible
On his trips before and after the filminj
of “Lightfoot,” Rock rented a car, travelinj
and staying wherever his own or his com-
panions’ whim told them to. Rock was witl
Betty Abbott and Barbara Rush and whili
they didn’t avoid resorts like the Lido, the
Riviera, or Capri, neither did they heac
for them straight. Mostly they stayed ii
small towns along the way, spending ai
average for the trip of only six dollars ;
day for room and board per person.
The “Queen” was in her berth, and Rod
proceeded down the gangplank to the cus-
toms inspection. It felt good having Ameri-
can soil under his feet once again. Anc
after crossing and recrossing some tw<
dozen frontiers during the past foui
months, Rock had become an old hand a
baggage inspection.
“Did you buy anything abroad?” the
inspector asked him.
There was quite a raft of things — Faience
and Wedgwood for his mother, a new 8-
mm movie camera he’d bought in Ger-
many, silk shirts from Florence, cuff links
from Venice, other gifts for his friends.
“Any perfume?”
“No,” he grinned. “No perfume.” Betty,
after all, had been in France, too.
He’d met the girls in Paris, flying back
from Rome. He had intended spending
a week there alone while waiting foi
Barbara and Betty to join him, but it had
rained in Paris, and if there’s one thing
Rock doesn’t like, it’s rain. He’d walked
around hunched up for a couple of days
till he passed an Italian travel agency. Un-
able to resist the lure of the posters, he
stepped inside. An hour later he was on
the plane to Rome.
What a city thai. was, aside from the
warmth and sunshine Rock loves so dearly.
Rome was one place that got under his skin
fast. Later he visited Naples and consid-
ered that the high spot of the entire trip,
but Rome made a terrific impact on him.
Walking amidst the ruins of edifices that
had been there well before the birth of
Christ gave Rock a sense of awe, an
awareness of history he’d never been able
to conjure up from his text books at New
Trier High in Winnetka. He gasped at the
sight of St. Peter’s and found himself deep-
ly impressed by the charm, beauty and
grandeur he encountered each time he
turned a corner, in the Eternal City. He
loved the fountains, the open-air flower
markets, the little restaurants and sidewalk
cafes. At his hotel he’d run into Ginger
Rogers and her husband, Jacques Bergerac,
and the three of them spent several days
together. One night Ginger and Jacques
took Rock to the Coliseum. Lit up by a
full silvery moon, the sight was so beau-
tiful he could hardly tear himself away.
If Betty had been there — who knows?
Rock would ,have stayed on in Rome
indefinitely, but he’d forgotten to wire the
girls and had to fly back to Paris to meet
them there. They rented a car and imme-
diately headed south again.
“Those crazy drivers in Paris,” Rock
thought with a smile, as he was getting into
a cab at the pier. The way they whizzed
around in their little cars, making enough
noise with their horns to drown out the
trumpets at Armageddon. It was a good
thing he’d once been a truck driver and
knew how to take care of himself. He’d
heard of people circling around the Arc de
Triomphe for a couple of hours before they
finally got back into the outside lane.
That was another thing, he thought, that
he hadn’t fully appreciated before he’d
been abroad. Where but in this country
could a man be a truck driver without
losing caste, without having it make any
difference to his status or future career?
People abroad were constantly amazed
that such a thing could happen. And he
made a point of mentioning his truck driv-
ing background frequently. He was proud
of having once earned his living with his
back and his hands. He’d wanted to go to
college after he came out of the Navy, but,
when he couldn’t get in, driving a truck
: was the next best thing. It didn’t stop him
from continuing to dream of a movie
career, a dream he’d been spinning since
he was a boy of ten when he’d seen Jon
Hall dive off a ship into a blue lagoon
before the admiring eyes of Dorothy La-
m mour.
! Nor did it stop him from doing some-
i thing about it. With borrowed money he
I had some good photographs made of him-
self, screwed up his courage to present
on them at a studio, got a hearing and was
; hired. “In America,” he often thought of
telling his new friends in Europe, “anybody
Ik lean be any thing he wants to be and is
equipped to be.”
t Once an Italian gentleman cornered
> iRock in a hotel lobby and gave him a
a long lecture on all the things that were
ik wrong with America. While going on with
this harangue, he kept ordering a waiter
around, talking to him gruffly and alto-
1 gether making the poor man jump. “How
then,” he wound up his catalogue of griev-
cl ances, “how then can you call yourselves
ii| a democratic nation?”
o Rock had sat patiently waiting for the
at j gentleman to finish. “I’ll tell you why we
iq | can,” he now said gently. “It’s, because if
anybody in our country were to treat a
y servant the way you have pushed around
a this waiter, he’d get his coffee in his face
instead of his cup.” The gentleman, Rock
reports, departed rather hurriedly.
As a star who is almost as well known
j in Europe as he is in this country, Rock
I had been told that he would be very much
in the limelight as a representative of
America and must, therefore, be on his
best behavior. The admonition was hardly
necessary, for Rock has a natural courtesy
that wins him friends wherever he goes.
People may have their peculiarities —
here as well as abroad — but Rock doesn’t
mind that. He got along with everybody —
garage mechanics, chambermaids, customs
inspectors, hotel clerks or elderly land-
ladies. That smile of his will melt any
female, of course, but he had just as little
trouble with the men, language barrier or
none. Many people in Europe, he found,
spoke at least a little English, and every-
body appreciated his own efforts to speak
their language. Besides, he’s a nice, un-
assuming guy. People like him.
“Did you find much hostility towards
Americans? Did people try to take advan-
tage of you?” These were questions he
was asked time and again during the
course of several radio, television and
press interviews he gave directly after his
arrival in New York. His answer always
was an unqualified “No” to both ques-
tions. No one had shown him any ill will.
No one he’d talked to, with the exception
of the man quoted above, had been hostile
to America. No one, without exception,
had tried to take advantage of him.
Once in Paris their bill at a restaurant
had seemed too high. Rock had been
warned that would happen, so on principle
he and the girls checked each item against
the menu. After poring over it for some
time they came to the shamefaced con-
clusion that there was indeed an error in
. the bill — an error in their favor.
“See, Father?” Betty had said. “It doesn’t
pay to be suspicious.” Betty usually calls
Rock nicknames like “Father” or “Igor.”
Another question Rock was asked fre-
quently was how he’d liked the foreign
cuisine. Rock has long been famous for his
appetite. He’s a big man — an English girl
once looked up at him and exclaimed,
“Blimey, you’re no Rock. You’re a bloom-
in’ cliff” — and his hunger is proportionate
to his size. Director Raoul Walsh, who has
worked with him in several pictures and
knows him well, has described him as
capable of eating a ton of ice cream and
twenty pies, and he’s warned prospective
hosts that he’s liable to eat his dinner,
theirs and a third. But Rock has always
been a steak and potatoes man and he
was a little leery at first of the fancier
dishes served overseas. Being blessed with
a cast-iron stomach and his genuine prefer-
ence for food — any kind of food — he man-
aged the switch easily though.
He’s always loved spaghetti and has
since added a string of other Italian spe-
cialties to his list of favorite dishes —
ravioli— lasagna — scallopini — minestrone —
prosciutto — scampi — he’ll rattle them off
without pause, getting a dreamy look.
This unusual event occurred at the fa-
mous old Elephant’s Inn, just south of the
Brenner Pass in Northern Italy, where
Rock rashly ordered the specialty of the
house, the Elejanten Platte.
It’s a platter the size of a bridge table
top, laden with steaks, chops, roasts and
other assorted meats, garnished with po-
tatoes and vegetables. Not within living
memory have any three strong men been
able to finish it in one sitting. Rock tried,
but like all the others had to give up. The
Elejanten Platte proved too much.
Within thirty-six hours after his arrival
in New York, Rock was on a plane wing-
ing his way back to California. His vaca-
tion over, he was anxious to get home. He
had to dub in the picture he’d made in
Ireland and he had to find and move to a
new home as his lease was up for his old
house. Soon there would be another pic-
ture, and then another. It was work, but
it was fun, more fun even than traveling.
He looked forward to it.
In back of him the sun was rising into
the sky, slowly, ever so slowly, with the
plane speeding away from it. Below, the
country was spread out like a checker-
board. He couldn’t take his eyes off it.
Now they were crossing the Rockies. He
was thinking of Switzerland. A man didn’t
have to travel six thousand miles just for.
scenic beauty, he thought. These, our own
mountain ranges, were just as impressive.
But then, that wasn’t the point of tra-
veling. He’d gone abroad to see the world,
learn how other people lived, gain a little
more understanding. He hoped he had
succeeded. He thought he had. Foreign
tongues, foreign faces, foreign customs —
he’d learned to respect things foreign, all
the while learning to appreciate his own
country more. For a country kid he hadn’t
done so badly. He felt he’d grown during
those four months he’d been away.
Above San Bernardino now he could see
a blue strip of the Pacific on the horizon.
A few more minutes, and the plane would
land. He’d be home again, back in the
warmth and sunshine of California, back
with his friends, his mother, his work. It
was good to be home. And it was good to
have been away.
A few more minutes to reminisce. Al-
ready it was more like a dream — Paris, the
Alps, the Italian lakes, the Riviera, Venice,
Florence, Rome, Naples. Especially Naples.
Vedi Napoli e poi mori, he murmured to
himself. “See Naples and die.” “Ciao,”
he smiled, saying goodbye to the receding
memory of his trip.
The plane landed. Rock rushed down
the runway. The traveler was home.
The End
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Don't Be a Teenage Misfit
( Continued from page 49)
Bankhead, it’s fine. On Kim, today, it’s
called sexy. However, for a youngster, it
was a heartache. “Once at a football game,
I got excited and started to cheer, ‘Yeh,
team.’ Everyone turned around and stared
at me and started laughing. After that, I
sat quietly at the games. I began to hate
to have to speak at all.”
Kim’s unhappiness showed in her school
work. She couldn’t seem to concentrate on
her lessons. She was among the last in her
class and usually exiled to the back row.
“I began to daydream a lot,” says Kim.
“I’d go home and dream that I was beauti-
ful and that everyone liked me, that I
was brilliant and was allowed to sit in
the front row in the class. But then I’d
have to go back to school and there I was
— down to earth again. It always hurt
twice as much. . .
It soon became much simpler to create
a make-believe world and walk into it,
assured of a welcome. There was a cherry
tree in the Novaks’ backyard, which Kim
designated as her wishing tree. Whenever
anything would go wrong she’d slip out
to the tree and sit beside it. Talking things
over out loud helped because it was diffi-
cult telling even her family her thoughts.
In the hope that she would meet new
children her own age, Kim’s parents sent
her to camp one summer. But she couldn’t
lose her self-consciousness and when
school came around, she dreaded it even
more. She couldn’t eat. She began to stam-
mer, and every afternoon she’d come run-
ning home from school, crying. At parties,
which she forced herself to attend, Kim
stood against the nearest wall, hugging it.
Once in a while she’d get up enough cour-
age to ask a boy to dance, which was the
custom, and to accept a dance when asked.
But for the most part, Kim was miserable.
She shudders when she remembers her
first date. A boy from church asked her
to go to the movies with him. She wore
a new dress and “a purple coat with a
velvet collar. I almost decided there might
be some hope for me after all.”
But her complex got in the way again.
“Isn’t it a nice night?” inquired Kim’s
date after a ten-minute pause in the con-
versation.
“Oh, I don’t think so,” Kim blurted out.
“I had meant to say something witty but
the wrong words came out,” she remem-
bers now.
“These were about the only words
spoken all evening until we said good-
night.”
During these horrible years, Kim never
thought of being an actress. “Other girls
did, but I didn’t, although I liked to pre-
tend. I loved to act things out. I was never
afraid of being someone else, only when
I had to be myself. Our class was required
to read books and make oral reports on
them. This was the only thing I ever en-
joyed. But after the report, when I had
to sit down and be me again, I’d climb
back into my little shell.”
One day Kim made a report to the
class and she acted it out. When she got
down on her knees in tears, she could
hear sobs from all over the room. When
she got to the scary part, there were ex-
cited screams from her audience. The fol-
lowing day, Kim found herself in the
principal’s office. Her classmates had told
their parents about her performance and
they had complained.
“I’m afraid you’ll have to write your
book reports after this, Marilyn,” the prin-
cipal insisted. “I didn’t appreciate the fact
p then, that I seemed to have a quality
that could compel an audience to laugh
or cry or be frightened,” says Kim. “In-
stead, I was embarrassed. And so terribly
ashamed of what I’d unintentionally done.
At that point, even my shell had shells.”
Mrs. Novak turned to the “Fair Teen”
Club, which, at that time, was called
“Calling All Girls.” She talked with the
director about her daughter and they de-
cided that membership in the organiza-
tion might be good for Kim. “All of the
kids gathered there,” says Kim. “And
there were a lot of activities, among them
fashion shows.
“I was given a modeling course and be-
gan to take part in the shows. I believe
that was when I first began to gain con-
fidence in myself. Off-stage, I was still
nervous among people. But on-stage, I
was perfectly relaxed. Funny, it was the
exact opposite with the rest of the girls.
“Then, in trying to explain to the others
how to get over their cases of stage fright,
I began to feel more at ease with them.
It was an invaluable lesson for me, and I
believe it would be for any girl who felt
as I did. In helping others, you forget
yourself. You have no time to be unhappy
or frightened or to wonder what every-
one’s thinking about you. You also learn
that no one’s perfect, that others, too,
have problems. Their problems may not be
exactly like your own. They may affect
others differently — people react in many
different ways. But the important thing
is that you’re not alone. You have a world
full of company, and it’s good company to
have while you’re trying to slay your own
dragon complex!
“There’s no fast cure for an inferiority
complex. And even when you’re on the
right track, you run into obstacles. For
instance, suddenly I became popular. Be-
fore I knew it, I seemed to have everyone
for a friend. ‘But they’re not really my
friends,’ I cried to my mother in a moment
of doubt. ‘They don’t really like me for me.’
An outsider for so long, I’d become sus-
picious of my sudden acceptance. So, you
see, there was still another dragon to slay.
It’s unfortunate, but true, so many times,
only when you feel yourself acceptable to
others do you become acceptable to your-
self. And you don’t want to fool anyone,
you want them to know you and like you
for what you really are.
“Individuality,” says Kim, “is important,
too. It may not seem so in earlier years
because you want to be one of the crowd.
But the first time I went out with a boy
who sincerely said, ‘You’re not like the
other girls. You’re different. There’s some-
thing special about you,’ well, I was ex-
tremely flattered!
“I’ve been told that an inferiority com-
plex is due to a person’s failure to make
a successful emotional adjustment,” says
Kim today. “The results are varied. Some
try to cover their real feelings with brash-
ness. I went the other way, toward se-
clusiveness. I couldn’t bear the thought
of facing my problems — or taking on any
new ones — facing anything or anyone for
that matter. My family, of course, was
wonderful. But other people can help only
so much. I had to learn to help myself.
“Now I can understand what happened
to me. But how could I, as a child, sit
down and analyze my feelings? How could
I confide them to someone else when I,
myself, wasn’t sure what they were all
about? How can any girl? If she falls be-
hind in school or playground competitions,
she feels she’s different. If she’s sensitive
and someone thoughtlessly teases or re-
bukes her, she wants to run away and
hide.
“She feels she’s incapable of coping
with life and she doesn’t know why she
should be the one stuck with the feeling,
unless it’s because, for some reason, she
deserves it. Yet, she is stuck with the
Bin
131
Si)
!«
am
complex. In many cases, a girl grows u]
with it. And then what? Well, I’ll tel
you, from my own experience! You eithei
keep running, or you stop and face it!
“Just think of it as I’ve learned to do:
Whatever you lack in one way, you cai
make up for in others. You’d like to b(
small and cute? But you happen to b<
tall and slender? Then stand up straight
Be proud. Let everyone know that you’n
glad you’re tall. It’s something special.
“You’re not a raving beauty? So what*
Every girl can be attractive, and she car
do much more than that. She can be
charming and sweet. She can be fun to be
with. She can be kind and understanding
“I’d been afraid to improve myself
afraid that nothing would help, afraid oi
further rejection and disappointments. 1
fell into a very human trap: self-pity. Ii
only I’d taken time to look into the mirror
to say, ‘All right, my girl, now let’s see
what’s right about you!’
“Children, and so many adults, tend to
concentrate on surpassing others, bul
they can overdo this. They should try to
surpass themselves. One of my teachers
once said, after giving me a low grade,
‘I’m not comparing you to other students,
Marilyn. I’m judging you by the work
I know you can do and the work that you
are actually doing. It’s simply not your
best.’
“If only I’d listened!”
After her days in the “Calling All Girls”
club, Kim went into professional modeling.
Then she was sent on a tour with three
other models. The tour ended in San Fran-
cisco and, chaperoned by the mother of
one of the other girls, the group stopped
in Los Angeles for several weeks.
One afternoon, Kim rented a bicycle lj;
and went riding in Beverly Hills. Agent
Louis Shurr saw the long-stemmed beauty
and asked if she’d ever been an actress, jj
“I was rather curt, I’m afraid,” grins Kim. r
“My mother had warned me about wolves '
and about talking to strangers in Holly-
wood.”
Shurr gave her his card, however, and
asked her to drop by his office. She did.
Her timing couldn’t have been better.
Columbia Pictures’ executive, Max Arnow,
happened to stop in while she was there
and Shurr introduced them.
Arnow offered Kim a screen test and,
several days later, she signed a contract
with Columbia. “It will be at least a year
before you’ll be ready even for small
parts,” Arnow warned her.
But three months later, Kim received
call from Arnow’s office. He had the
»
script of “Pushover.” Would she read it
and let him know what she thought of it?
“It’s exciting,” was Kim’s verdict.
She tested for the role and was given
the lead opposite Fred MacMurray. “And
there I was,” she says. “There were so
many people on the set that I was afraid
again. And for a while I was so scared
I forgot all I learned. But everyone was
so kind, people I hardly knew. And I
remembered I was there to do my best, to
justify the studio’s faith in me. Our job
was to make a good picture, and pretty soon
I began to forget my fears.”
Kim is doing all right for herself these
days. She has, in Hollywood’s book, “ar-
rived.” “Yet,” says one of her co-workers,
“there’s still a wonderful quality of humil-
ity about her.” .
“Could be,” smiled Kim when she heard
this. “I know how it feels to be left out
of things and I so do appreciate my good
luck. And I plan to stay busy, terribly
busy. People like me should keep active—
not brooding — doing. Accomplishment is
the best way to kill an inferiority complex.”
The End
INSIDE STUFF Continued
( Continued from page 23)
carried away to remember. Now comes
the switch! When the Breen office saw
the scene, they were so impressed and,
I knowing Bing was innocent of disrespect,
the scene was okayed and allowed to re-
main in the picture.
Assembly-Line Romance: Don’t say we told
you, but certain local lovelies secretly
wish Terry Moore had stayed out on that
personal-appearance tour. Her first week
back in town, the popular belle had dates
with Richard Egan, James Dean and
Jacques Sernas. Of course, this was after
Senor Dean and Pier Angeli decided their
romance wasn’t so romantic. Egan is play-
ing the field and Jacques (he’s the French
star of “Helen of Troy”) not only dated
Terry on his first night in Hollywood, he
had Shelley Winters on his arm the sec-
ond! Tennis anyone?
Guys and Gags: His studio pals threw a
going-away party for Charlton Heston, who
plays the bearded Moses in C. B. deMille’s
“Ten Commandments.” Among Chuck’s
goodbye gifties was a box of — bobby pins!
. . . And Rory Calhoun bribed a group of
autograph hounds to approach a table
where Guy Madison was dining with his
new bride. “We’re just mad about you,
Scott Brady,” they squealed. “Pie-ease
sign our books!”
Star Boarder: Thoughtful Bob Hope gave
a party for his “family” who played in
“The Eddie Foy Story.” The kids were
invited to the Hope house on a Sunday
afternoon and they had a ball. Early
Monday morning Bob came down to break-
fast. There sat Tommy Duran, age four,
the youngest Foy in the picture. “Tommy,
why are you still here?” gasped the come-
dian. Came the nonchalant reply: “Oh,
Tony (Bob’s son) invited me to spend a
few days.” Dashing out of his huge estate,
Bob called back: “I’ll be home at noon to
check the other six bedrooms!”
Secret Stuff: Burt Lancaster always gets
what he wants and he wants to make a
musical. So he’s batting his brains out
taking tap and toe work. . . . Out-of-state
realtors are trying to find a ranch for a
lady named Edyth Marrener. Won’t they
get a super-charge when Susan Hayward
moves in! . . . And the day isn’t too far
away when Audie Murphy will be living
on an out-of-state ranch, too. His mar-
riage is running smooth as silk again and
one way to keep it that way, the nice guy
believes, is to avoid the spotlight of Holly-
wood attention. He’s got a point.
The Truth Is: Marlon Brando has a deep-
rooted inferiority complex, a close friend
insists. So those anti-social antics are
merely to “cover up.” ... If the stork’s
listening in, John Ericson wants his nibs
to know he’d like to get on that waiting
list! . . . Ann Blyth’s night-club act (minus
sexy suggestiveness) reduced hard-boiled
agents to tears, while Las Vegas “char-
acters” rose to their feet and shouted them-
selves hoarse. . . . John Wayne doesn’t
want his sons to act for anyone but his
director-friend John Ford. All other offers
have been refused. . . . Doris Day and June
Allyson finally met for the first time — at
the vegetable counter of McDaniel’s Market
in Beverly Hills. . . . When Audrey Hep-
burn married Mel Ferrer in Switzerland,
her mother attended both the religious
and civil ceremonies, but the Baroness
still wasn’t reconciled to her daughter’s
new husband.
Cal Wonders: Who Montgomery Clift goes
to see when he makes those Sunday trips
to — “somewhere in Connecticut.” . . . Why
a certain “exclusive” Hollywood set per-
sists in saying Edmund Purdom is a flash
in the pan and lacks the necessary requi-
sites for stardom. . . . When Clark Gable
and vivacious Kay Williams Spreckles will
realize they belong together. During his
recent physical checkup, gay Kay kept the
“King” amused and happy with her daily
hospital visits. . . . Where Barbara Stan-
wyck finds all that energy. Even when
she’s working, she calls friends after mid-
night and has nice friendly visits with them
on the telephone!
Unhappy Ending: Cal hoped, too, that Bar-
bara Rush and Jeff Hunter wouldn’t sep-
arate. But the official announcement came
from the lady, who repeatedly denied there
was serious trouble. Result: Annoyed re-
porters placed most of the blame on her
ambitious shoulders. It’s true Jeff occu-
pied the number-one spotlight when they
married. Then Barbara zoomed to stardom
while some of her husband’s roles at 20th
weren’t worthy of his talent. In time,
friends insist, however, constant separa-
tion by work and periodic personality
clashes caused the breach. One thing’s for
sure: Two-year-old Christopher will al-
ways be a strong bond between them — even
if they don’t get back together.
Things To Come: The deal’s all set but
very hush-hush. Howard Hughes bor-
rowed Marla English from Paramount for
twenty weeks. She gets her big break at
RKO in “Pilate’s Wife.” . . . And remem-
ber you read it here first. When director
William Wellman brings his own fabulous
life story to the screen, Tab Hunter is his
number-one choice for the starring role.
. . . And when, and if, June Haver returns
to the screen, she’ll co-star with Fred
MacMurray, her real-life Romeo. They’re
so happy together, they don’t want to be
separated by work. . . . Fans of Grace
Kelly and Bing Crosby are in for a sur-
prise when they see “Country Girl.” Both
do a switch on their usual style for this
one.
Hollywood Highlights: Debra Paget’s dad,
in a yachting cap, drives on the lot (he
used to be a painter there) in her lavender
Cadillac to pick up her pay check. And
Debbie, now twenty-one, picked up $16,500
worth of bonds impounded by a court order
while she was a working minor. . . . But
Jimmy Stewart can’t even give away a
Cadillac, to his wife, that is! She was de-
lighted with her birthday present, but
Gloria still persuaded Jimmy to exchange
it for a smaller model.
Cheesecake Blues: When she posed for a
national magazine cover, Audrey Hepburn
thought the photographer was cutting from
her waistline up. When she saw the full-
length shot they used, Audrey was so dis-
mayed she ordered all leg-art out from
now on.
Here, There, Everywhere: When thrilled
Judy Garland announced the stork was due
again in April, Warners sent the expected
baby a 16-millimeter print of “A Star Is
Born.” . . . And while we’re in the nursery,
just as Eve Arden predicted, “Our Miss
Brooks” had a nine-pound son to please
her three adopted children. . . . Jean Peters
ended retirement rumors by returning to
Hollywood for “A Man Called Peter.”
And did you know that a man called
Stuart Cramer, the 3rd, has a Blue Book
family background covering more pages
than his wife’s scrapbook!
The End
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77
( Continued from page 33)
togetherness in everything,” Alan ex-
plained seriously. “We share all things.
We woi'k together, play together and plan
together. Sue and I are a team. That’s
the way we like it. Maybe this sort of
closeness wouldn’t work for other couples,
but it’s the answer for us.
“With all our common interests. Sue and
I are nevertheless completely different in
make-up. She is impulsive and will gam-
ble. I won’t. With me it’s pay cash or
nothing. I am a worrier and Sue is an
optimist. We both realize that my feel-
ings of insecurity date from depression
days. It was a rough, tough time for a
lot of youngsters and I was no exception.
Alan Ladd today is a man who faces the
inner struggle of accepting himself as he is.
He believes in God, and knows that
through prayer he may conquer problems.
And this same faith is a strong part of the
marriage of Sue and Alan. They have in-
stilled faith in their children. Trying to
give them a deeper sense of security than
Alan himself has ever known, he still
struggles to keep them in true balance.
“We want home to mean a spiritual,
emotional and physical security to the
kids,” Alan said thoughtfully. “A nucleus
for everything. We have large portraits of
them over the mantel in the living room.
When they grow up, we’d like to have
them look back and remember that. We
want home to be a place where they will
want to bring their friends.
“When I was very young and very poor,”
Alan went on, “I knew a boy whose father
was very wealthy. When we went to his
house the icebox was always full of won-
derful things to eat. We were welcome
to anything there. I’d like to create that
same feeling for the kids. Each of them
is different, but we’re trying to give them
the same sense of values. Carol Lee, of
course, has already charted her course.
She is going to marry Dick Anderson, a
fine young actor under contract at M-G-M
Studios. Young Lonnie is shy and sensi-
tive. She’s at a stage where she loves to
do everything the same way Carol Lee
does. Laddie is quiet and athletic. David
is the family comedian. But we love them
all for their own wonderful ways.
“All of our children are pretty level-
headed about the movie business, too,”
Alan added. “They’ve grown up hearing
about movies from morning to night. So
they accept the fact that movies and
movie-making are a business. I have no
objection to the children being photo-
graphed as some stars do. They behave
beautifully. Sue and I have worked it out
like a competition. Each child tries to be
the most cooperative and obey the photog-
rapher’s instructions fastest. The picture-
taking routine is simply a part of Daddy’s
business. They have no illusions about it.
“When David and Lonnie went to Eu-
rope with us in 1953 their studies con-
tinued. David was six and Lonnie was
ten. We took a fine tutor with us, and no
matter where we were the kids studied
until two o’clock. Quite often they worked
away in the back of a car while we trav-
eled. During those times they were not
criticized for any bum penmanship,” Alan
grinned. “They learned so much with the
individual instruction, they could have
jumped two grades when we got back
home. Sue and I felt that academically it
might be fine, but socially it was a pretty
fast jump. So they’re still with their own
age group.”
Alan and Sue’s love and concern for
their children reaches into the future, too.
P Their hew corporation — which will pro-
duce tladio and television shows and mo-
tion pictures — has been carefully planned
so that the children have shares in it.
When the Roots Run Deep
These little stockholders may eventually
run the corporation. This new venture in
producing is again a joint effort for the
Ladds — typical of their magnificent team-
work. They discussed, planned and
dreamed until the project became real.
“Our whole life is an open book,” Alan
pointed out, “and when you live openly
you live honestly. I can’t stand dishonesty
in any form. I don’t see how a marriage
could survive that. Sue and I are com-
pletely honest with one another . . . with
one exception. She will hide a bad re-
view from me if she sees it first. When I
say honesty, I don’t mean to the point of
cruelty. Sue would never intentionally
hurt me any more than I would hurt her.
We have no secrets from each other — and
no need for being alone.
“Dishonesty sometimes takes the form
of not talking out things you disagree on.
Sue and I don’t do this. When we dis-
agree we start talking. We work out our
own differences. We don’t take our trou-
bles to anybody else. We know confiding
in anyone else can be like asking for a
judge and jury rolled into one.”
In a marriage so companionable, Alan
and Sue’s faults and foibles long ago were
relegated to their proper place. They have
found that a sense of humor and the abil-
ity to laugh at or with each other is
mighty important. They tease each other
for faults and find praise for virtues.
“Sue has the amazing ability to keep
seventeen thousand things on her mind at
the same time,” says Alan. “And what’s
more, she follows through. No detail is
too small to be completed. Except at
work, I’m likely to quit when it comes to
details. The daily dozens of little things
that have to be done, Sue manages ef-
fortlessly. They leave me exhausted. On
the other hand,” Alan grinned, “my super-
human dynamo has turned me into a part-
time retriever. I spend a lot of time chasing
down her earrings. Sue has a mad-
dening habit of taking off one earring
while she’s talking on the phone, then she
goes blithely on her way forgetting where
she left it. So I hunt.
“Her forgetfulness is trivial compared
to my worst habit — changing my mind.
As Sue manages everything from home to
business, leaving me free to go to the
studio, we make our decisions at night.
Say we’re discussing some project that
involves someone else. Finally we’ll de-
cide and I’ll say, ‘You call him up in the
morning and tell him it won’t work.’ The
first thing in the morning, Sue will get
on the phone and get rid of the unpleasant
duty. When she comes in to tell me about
it, I’m likely to look at her in amazement
and say, ‘What did you do that for?’ It
drives her nuts.”
Sue is a warmhearted generous woman
and loves to buy things for others. She
spends months getting just the right gifts
for everyone on their Christmas list — and
it’s a long one. One friend said in awe,
“She gets the exact size and perfect fit
for every shirt, sweater or pair of gloves.
I don’t know how she does it.” Alan is
delighted with Sue’s generosity and feels
that they have received so much that they
have a double joy in giving.
“The trouble with Sue is, she’ll buy for
everyone but herself,” Alan says. “And
the only way I can buy anything for her
and make her keep it is to have it mono-
grammed so she can’t return it. I have a
terrible time talking her into going into
town to buy herself some dresses. And
when she finally does go shopping, she’s
just as likely to end up spending five
hours shopping for the youngsters and
getting nothing for herself.”
One secret to this happy marriage is the
obvious selfless sharing that has become
%
' ■ ■ v ™|i|
almost automatic with them. They reach
conclusions jointly, satisfied with the deep
contentment they have in each other. As
Alan puts it, “Who cares who wins?
You’re spending your whole life together.”
Both the Ladds are tender and sentimen-
tal people. Happy themselves, they have
engineered many happy marriages among
friends, who had only one fault in the
eyes of the Ladds . . . they were single.
They yearn to see all their friends with
the same deep sense of fulfillment they
have.
This sense for marriage and home was,
of course, the reason Alan so desired to
build for Sue and the children the perfect
home. And he did. It was the ranch,
Alsulana Acres. The first piece of prop-
erty Alan ever owned in his life. It was
a turning point. Looking out on the rich
acres of Hidden Valley and knowing they
belonged to him, brought to Alan the con-
fidence and belief in himself that he so
much needed. The ranch, the stables, the
rolling acres were the tangible proof of
security. The ranch took eight years to
build, but the dream became a reality.
“We wanted the house to flow,” Alan
says. “We wanted it to have a natural
flow from room to room and right out
doors. We wanted the sliding glass doors
of the living room to give an unobstructed
free sweep through the patio across the
pool and right into nature’s backyard. So
we decided against a bathhouse arid bar-
becue by the pool. That would have brok-
en the line. Instead we put the playroom
at the end of the house nearest the pool
with the barbecue and dressing-room fa-
cilities inside. We kept tightening our
plans so they would suit the needs of our
family, and yet, in deference to my cau-
tion, the house was planned so it would be
saleable on the market, in case.
“Sue used a lot of originality in the
house. She’s always had a wonderful gift tl
for decorating. One very practical idea »
she used was to put fabric on the walls in-
stead of wallpaper. I will admit, I sparked n
that idea by asking her how murals stayed j
so well preserved for centuries. She be- ,
gan to wonder why, too. And we ended |j,
up with fabric wallcoverings. They’re
very practical and effective.
“I decided to have built-in pictures, too. jj
So we mapped out picture areas between |
the studdings which are about two feet
apart. The carpenters left a square cut r
out about six inches deep where we j,
marked the plans. Then we built in our »
pictures with a background painting and
foreground figures, and ended up with a
three-dimensional effect on the wall. We i
like it.”
And to anyone who sees it, the Ladds’ h;
home embodies the very spirit of their 01
marriage. It is a strong place, constructed to
with love and care, emanating charm and jf
grace, built solidly on a rock of faith and t0
happiness. Running through the graceful ,
rooms is a feeling of peace and warmth.
And yet, the beautiful house is only a !
middle-mark in the career of Alan and i
Sue. Alan is in the prime of his success. V
He will unquestionably reach new summits,
attain greater glories. And wisely, they
have found a new enthusiasm to take the
place of the interest they expended on the
home now finished.
They expect to concentrate now and in
future on their new project, the production e
company. It will be new to them. They ir
look on it as a chance to learn new and b
exciting things. They hope through it to
be able to help others, create new talents ai
and dream new dreams together.
So we give you the Ladds — a happy cou-
ple— whose love story never ends.
The End
Sweet Stuff
( Continued from page 35)
I have my moods and I have a frightful
I temper. I’m quite a terror when I’m on the
warpath.”
Studio people at the table smiled indul-
gently at Miss S.’s assertion of fierceness,
while her stand-in, a pretty girl, cringed in
mock panic. “That’s my trouble,” the ter-
rible-tempered Jean complained. “Nobody
/ takes me seriously. I always get the gig-
: gles and start to laugh just as I get good
and going. I suppose it kills the effect. Still,
believe me, I do have quite a temper.”
Despite Jean’s denials, she always gives
i an impression of great tranquillity. She’s
!, lively and cute in her conversation, yet at
the same time there is something very calm
and unhurried about her in everything she
does, whether it’s the way she walks, talks,
eats, smokes or sips her coffee. In a field
- where it usually takes tremendous drive
} to get to the top, Jean Simmons seems
1 oddly content to be passive and let things
f come to her instead of going after them.
) Was that really true? I asked her. Did
she lack ambition?
i “No,” she said, after thinking it over. “It’s
1 not true. I am ambitious about my work,
t Acting means a great deal to me. I want to
be as good as I possibly can be.”
I What about fame, fortune, public ac-
1 claim? Did that mean much to her?
) “Certainly. It’s very nice to be a star. I
like it.”
But did she have real drive and push?
The urge to outstrip her competitors?
1 “No, I’m afraid not,” she admitted. “I feel
a little guilty at times when I hear of other
young actors and actresses struggling and
starving for years before they get their
first break. I was very lucky — I never had
to go through any of that. Everything al-
i ways seemed to sort of fall into my lap.
1 1 Otherwise I’d probably be a dancing teach-
! er somewhere in London today. That’s
1 what I really started out to be.”
Jean and her sister Edna had both en-
rolled in Miss Aida Foster’s School of
Dancing in London towards the end of the
war, dreaming of getting their teacher’s
licenses and opening up a studio them-
selves. Jean was only fourteen at the time
but seemed to know what she wanted,
i She’d been at the school only two weeks,
though, when she was noticed by a movie
talent scout, asked to audition for producer
Val Guest and picked from over two hun-
dred candidates for a juvenile role with
Margaret Lockwood.
“I was delighted, of course,” Jean says,
recalling this early triumph. “I’d never
dreamed of getting into the movies. I had
a granddad, you know,who’d been a music-
hall performer, but he nixed that for his
own family. He didn’t want any of his kids
to be on the stage. My folks were very un-
derstanding, though. And frankly, we
could use the money. There wasn’t too
much of it around in those days.”
Looking at Jean it seems obvious that
she must have had a wonderfully happy
childhood even without money. Born Jean
Merrilyn Simmons, the youngest of four
children, she grew up in Golders Green, a
; not-so-fashionable London suburb, where
her father — a former swimming champion
— was a school teacher. “We had a very
warm and affectionate family life,” she re-
lates. “To this day we’re all very fond of
each other. I don’t remember ever hearing
ap unkind word in our home. Being the
baby, I probably was dreadfully spoiled;
anyway, I certainly got my share of love
and affection. I simply adored my daddy.
It’s my one great sorrow that he didn’t live
to see me become a success. He would have
been so proud.”
During the war Jean was separated from
her family, though, when she was evacu-
ated to the country along with other Lon-
don children and spent a couple of years
in Somerset. She won her first movie part
shortly after her return to London, tagged
along for a while in a succession of minor
roles — actually earning her dancing teach-
er’s license in-between movie work — and
didn’t get a major break till she reached
the advanced age of sixteen when she was
selected for the role of the young Estella
in “Great Expectations.” Her portrayal of
the capricious, charming child brought her
international critical praise and started her
securely on the road to fame. The mem-
orable performance she gave as Ophelia in
Laurence Olivier’s production of “Hamlet”
cemented her reputation, winning her four
international film awards. It established
Jean as a star of the first magnitude and
made her England’s most beloved young
actress.
“It took me a while to acquire a taste
for Shakespeare,” Jean concedes. “I might
never have except for people like Gabriel
Pascal and Larry Olivier going to a good
deal of trouble trying to make me see the
light. It takes a little effort, but I now find
Shakespeare fascinating once I grasp the
full meaning of his words. I’d like to do
Juliet someday. And perhaps Rosalind, in
“As You Like It.”
She finds herself a little bemused,
though, with her friends the Oliviers’ new
project for the London stage, Shakespeare’s
“Titus Adronicus.” “Spence — Spencer Tracy
— gave us a graphic run-down of the play
the other night. It has the most gruesome,
gory plot . . .” She shuddered a little,
imagining the mutilations around which
the story revolves. “I suppose if Larry and
Vivien are going to do it, the play must
have its merits,” she then added philo-
sophically.
After “Hamlet,” it was inevitable that
Jean would eventually go on to stardom in
Hollywood. Her beauty was obvious, her
talent confirmed by a series of successes.
But before she transferred her activities to
this side of the ocean, there were several
more years of film making and fun in Lon-
don. Still in her teens, an established star
adored by the British public, Jean had her-
self one whale of a time. “There was al-
ways so much to do, so much excitement,”
she recalls a little nostalgically. “I never
had a chance to get bored. I love California
— I wouldn’t live anywhere else in the
world — but I do get homesick for London.”
During her “British” period, Jean also
made one picture, “The Blue Lagoon,” in
the Fiji Islands. This gave her a chance for
a trip around the world and her first ac-
quaintance with the United States. How-
ever, Hollywood had its first glimpse of
Jean when, on her return trip, she served
as proxy for several British artists at the
motion picture Academy Award presenta-
tions. Not knowing what was in store for
her fellow Britishers, she’d prepared one
short speech of acceptance. She had to ad
lib when she was called back six times in-
stead of once. Her charm and poise were
so great on that occasion that she scored a
personal success with her impromptu per-
formances.
Nineteen-fifty — the year she turned
twenty-one — was a momentous one for
Jean Simmons. She married Stewart Gran-
ger, with whom she’d been in love since
she was a child (even before she ever met
him in person). And in that same year,
Jean found herself committed to RKO in
Hollywood when Howard Hughes bought
up her contract with J. Arthur Rank. Her
subsequent feud has been widely publi-
cized. ,
Stewart Granger — “Jimmy” to his wife
and his friends — had been Jean’s movie
idol long before she dreamed of meeting
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79
him in person. When she did — on the set of
“Mr. Emmanuel” where he visited Elspeth
March, to whom he was then married and
whose daughter the fifteen-year-old Jean
was playing — she fell head over heels in
love with him. It wasn’t until several years
later, though, after he was separated from
his wife and Jean and Jimmy co-starred
in a film “Adam and Evalvn,” that he in
turn paid any attention to her. They were
married in Tucson, Arizona, a couple of
years later.
There have been rumors at times that all
wasn’t well between the Grangers. It’s been
said that Granger is pushing Jean into the
background, that he’s domineering, over-
critical and belittling. On account of pro-
fessional commitments they’ve had long
periods of separation, a hazard to which
the average marriage isn’t exposed, and
one liable to blight the happiness of the
most congenial couple. Much has also been
made of the fact that Granger is quite a bit
older than his wife.
Jean, on the other hand, is known to en-
joy flirting a little. She’s been seen out
with male friends when her husband was
away, but that has always been entirely in
the open and with Granger’s knowledge
and consent.
Jean doesn’t look like the kind of girl
whose ego takes a constant beating at
home; she also struck me as sufficiently
mature to be attracted to a man somewhat
older than herself. Jean certainly doesn’t
appear to be torn by marital or any other
kind of conflict. Jean frequently mentions
her husband affectionately and she doesn’t
exactly seem to be looking forward to their
frequent separations. “Maybe I’ll be able
to go to India while Jimmy works in
“Bhowani Junction,” she says wistfully.
She’s been asked to play on Broadway, but
she says she couldn’t see it. “Jimmy and I
couldn’t do one together under the terms
of his contract, and I wouldn’t want to
commit myself alone for any length of
time.”
Jean thinks a good deal of her husband’s
artistic judgment. She refers to him and
quotes him frequently in conversation and
gives him enormous credit for coaching and
helping her with her own parts. Further,
she cheerfully admits his taste prevails in
furnishing their home and that he is in
complete charge of the kitchen. “He won’t
even let me come near it,” she said. “ ‘You
stick to your acting,’ he tells me.”
Falling under the spell of Miss Simmons
is easily done and men and women have
been known to resent and avenge the least
slight, but who can help feeling that Jean’s
husband is perhaps right in maintaining
acting — not food — is her forte. For lunch
she’s likely to order something that might
better be referred to on the menu as the
“Truckdrivers’ Special,” a corned beef hash
with browned potatoes kind of affair that
looks at its best like army chow at its
worst. She seems to enjoy it thoroughly
and is willing to try even the most teasing
food suggestions of her friends — like pour-
ing syrup over her hash.
Perhaps it’s that kind of suggestability
that makes her appear cowed and docile in
the presence of her husband. However, if
she’s actually sat upon, she has at least
preserved her sense of humor. One marital
dispute of long standing has been about the
choice of television programs. Granger
likes prize fights, Jean doesn’t. Spencer
Tracy, who is one of their close friends,
once advised her to assert herself. “You
pick your program for a change, Jean,” he
told her. “No reason in the world why
Jimmy and I should always have our way.”
“At that my husband pipes up and says
p something about a fight being on between
some Kid Cocoa and a Hurricane Jackson,
or some such names,” she relates. “ ‘Like I
said,’ Spence continued. ‘You pick your
program for a change — tomorrow night.’ ”
“We eventually settled the argument by
getting a second television set. Now Jimmy
looks at one and Rushton, our butler, at
the other.”
There is a decidedly mischievous streak
in the gentle Jean, but her wit or her
pranks are never unkind. When she made
“She Couldn’t Say No” with Robert
Mitchum back in ’51, one of the scenes
called for her to stand in fishing boots in a
rushing stream and to be picked up and
carried away by Mitchum. Rugged Bob
nearly broke his back trying to lift her up
and sling her over his shoulder. Jean had
gained unsuspected poundage when she
filled her boots with lead.
Another time she quietly watched the
director instruct an electrician by the name
of Pettibone how to adjust the lighting for
a shot. Pettibone was of particularly short
stature.
“Higher,” the director shouted.
Pettibone dutifully lifted the light higher.
“Higher still,” requested the director.
Pettibone complied.
That continued several times until Jean
burst out: “If we aren’t careful we’ll run
out of Pettibone.”
And once, when Sherman Billingsley of
the New York Stork Club inadvertently
introduced her to the audience as “Miss
Sigh-mons,” she turned to him smiling
radiantly. “Thank you very much, Mr.
Billingsgate," she said.
The people who work with her every day
are full of praise for Jean’s simplicity and
lack of star-consciousness. There is a feel-
ing of complete equality between Jean and
her stand-in with whom she frequently
lunches. Vivian, her hairdresser, is a long-
time friend; and back in London she used
to share a flat with the girl who took care
of her wardrobe. She’s known to treat stu-
dio grips with the same courtesy as she
will the head of the studio, the director or
a fellow star. She’s extremely affectionate
and has none of the traditional British re-
serve about showing it. Once her husband’s
stand-in ambled over to the set of “The
Egyptian.” She’d always liked him, hadn’t
seen him for some time and gave him a big
hello, kissing him on the cheek.
“I wish you’d do that for me,” one of her
co-stars said.
“I will,” Jean replied. “When I know you
as well as I know Bob.”
She’s invariably kind, generous and
ready to help those who need it. She does
those things quietly, though, and won’t talk
about them as she doesn’t want to embar-
rass anybody. From others, however, I’ve
heard of doctors’ bills that were paid and
of children who were sent to camp.
Their home, incidentally, has rarely been
photographed. With so much of their pri-
vate lives exposed to the glare of publicity,
this is one part they try to guard jealously.
They don’t go in much for nightclubbing
or other fancy amusements, but spend
most of their leisure hours at home or at
friends’. The Wildings, Mike and Liz, are
their most intimate friends, and the two
couples spend much time alone with each
other, but on Sundays Jean and Jimmy
usually entertain a fair-sized crowd of
friends.
By her own admission, Jean is lazy
when she’s not working on a picture.
Dressed in jeans and a T-shirt, she loafs
around the house reading and listening to
music. She loves to sleep. When I asked her
what she was going to do when she finished
her picture, she put the palms of her hands
together, leaned her cheek against them
and blissfully closed her eyes. “Sleep,” she
said. “Sometimes I go to bed at nine and
sleep through till ten the next day.” She
also swims, plays tennis and is wild about
dancing. Experts claim she could have be-
come a prima ballerina if she hadn’t been
side-tracked into the movies. Her ballei
training shows itself in the way she moves
and walks. Her stance, posture and grace-
fulness are a not inconsiderable part of hei
charm.
Jean has a sexy figure and looks stun-
ning in evening clothes, but her alleged in-
difference to clothes appears to be genuine.
Last spring she received a frantic call from
a certain dress shop. It was the afternoon
before the Photoplay Awards ceremony,
and the store had just discovered that the
identical dress as the one Jean had ordered
for the occasion had been sold to Lana
Turner as well. Instead of getting excited,
Jean merely told the store to pick out an-
other dress and send it up. Later every-
body commented on her exquisite taste and
how beautiful she’d looked in that particu-
lar dress.
Gossip has it that after four years in the
United States Jean has become sufficiently
Americanized to be a baseball fan. She
seems to enjoy it all right, but there’s evi-
dence that she has yet to grasp some of the
game’s finer points. Once she attended a
ball game with her husband and became
wildly excited cheering on the Boston
Bobby-soxers.
Told that the team was called the “Red
Sox,’’, she became quite flustered. “Oh
dear,” she said. “It’s a good thing nobody
heard me. They would have thrown me out
right on my pretty, little — ear.”
Jean blushed a little, admitting that she
used words occasionally that might not be
entirely acceptable at St. James’s Court. “I
suppose I shouldn’t,” she says. “I don’t like
it in other women. I must have caught the
habit from Jimmy. He’s real bad.”
There is a school-girlish quality about
Jean at times that is particularly endearing
considering she’s been a star since her
teens. After years of success and acclaim
she still doesn’t take her position for
granted. When someone pointed out Lillian
Gish coming into the commissary, Jean
craned her neck trying to get a glimpse of
her. She’d never met her and was excited
seeing her in person for the first time. Her
reaction then lent credence to a story that
has been told around Hollywood for years.
Jean was already an established star on
her second visit to Hollywood when pro-
ducer Hal Wallis gave a large party in her
honor. Jean showed up with an autograph
book, thrilled over the opportunity to add
to her collection. “Sure, it’s true,” she says
emphatically. “Just imagine what a thrill
it was for me to meet all those famous peo-
nle. I’d heard about and admired for so
long.”
There is, however, nothing girlish or
naive about Jean Simmons when she’s
talking about her art. She’s exceedingly
well informed about every phase of motion-
picture making and will talk with author-
ity about any angle one may wish to ap-
proach— photography, direction, scripts or
acting. She responds with intense interest
to whatever is said, whether the talk is
about the great French director Duvivier,
Marlon Brando or something as specialized
as camera technique. For Jean Simmons —
lest one forget it over the charm of her
personality — is a professional first and last,
an artist to her fingertips.
There is an old wheezer in show business
that hunger — being good for the- soul — is
part of the making of a good actor or ac-
tress. Jean Simmons, a great actress, is
proof that this isn’t necessarily true. She’s
been fortune’s darling — blessed with luck,
beauty, talent and charm. Unwarped by
driving ambition or struggles, she’s been
able to preserve the one quality which in
addition to all others makes her unique —
genuine kindliness. The beet growers, it
would seem, weren’t wide of the mark:
she’s the sweetest.
The End
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Hey Th ere, You With the Stars in Your Eyes
( Continued, from page 54)
and yours is a smile that will melt the
flintiest heart. Your father gets a job
with the Grover Grider Electric Company
in Stockton, and on the strength of the
promised position — and your charm — you
move into an apartment without paying
anything down on the rent. According to
your father, you’re the family’s best se-
curity. . . .
“We didn’t have a dime to pay down on
the rent or for food or to turn the lights
and gas on. And I was too proud to ask
the boss for an advance. The landlady’s
name was Mrs. Schnake, and I put our
problem to her very frankly — and she was
frankly hesitant. “I’ve just been beaten
out of two weeks’ rent,” she said. Then
she looked at Jeanette again. “But you
have this baby — I think I’ll trust you.”
Then we went to the corner grocery and
gave him the story and asked if we could
charge a few things. He looked at the
baby — and we went away with groceries,
a can of canned heat to cook with and
candles for light.”
Yes, money is scarce during your early
years, but yours is a family rich in love
and laughter and understanding. You
grow up with a sense of values that won’t
desert you in the glamorous years ahead.
Tough times only strengthen your family
ties.
On Halloween, 1931, you make your
first appearance in costume, and you are a
“howling” success — according to your
Mom:
“We had a little party for Jeanette at
home — just the three of us. She had a
mask on and a white sheet draped around
her, and she had one of those serpentine
things you blow on which delighted her
no end. Our apartment was on the street,
and we had all the lights out but a candle
in a pumpkin. Jeanette would blow this
thing out the window at everybody pass-
ing along the sidewalk. She had an hilari-
ous time.”
In 1933 you enter Weber Grammar
School in Stockton. Your father’s still
working at the electric company, your
mother’s working at Wright’s Coffee Shop
to help out with family finances, and your
Aunt Pearl, eight years your senior, lives
with you and “baby-sits” while your par-
ents work. Your “Auntie Popo” has a few
of her own vivid memories of you:
“I used to love to dress Jeanette up and
take her places, and she was like a little
sister — always tagging after me. We’d go
to school together, eat lunch together, and
on Saturdays we would go to the movies
all day long. We’d go to the Mickey Mouse
movie in the morning, stay for the matinee,
and if we could talk Fred and Helen into
it we’d go back for another show that
night.
“I married when I was sixteen. We lived
in Oakland, and Jeanette would come visit
us. My husband and I were just kids, too,
but Jeanette would call us ‘Mommy’ and
‘Daddy’ just for fun. She was eight years
old and almost as big as I was. She’d skate
down the hill by the house yelling,
‘Mommy — catch me!’ People going by
would give us the funniest look. The
neighbors thought I was a real child-
bride. We were the shock of the town!”
In 1935, too, you twirl a baton as major-
ette of the Scouts and you win a silver cup
engraved “First Prize Mascot” for Pyramid
No. Five. Your band, in fact, wins a prize
three years in a row among competitive
cities and Pyramids. One of your public,
your Pop, gives a firsthand report:
“Our daughter was so proud of that
drum-majorette outfit. It was white,
trimmed with gold braid, and she wore
white Russian ‘dress-up’ boots with it.
Her tall majorette hat was made of tin
foil — and she really loved that. ‘It shines
just like diamonds in the sun,’ she said.
Once she marched for miles — all through
the park and the downtown section —
twirling that baton with an open blister
on her hand. For a prize one year they told
her she could pick out whatever she ‘really
wanted’ in the local jewelry store. Jean-
ette said she really wanted a ‘red plaid
raincoat and a hat to match.’ Her mother
couldn’t stand it — our daughter being
turned loose in a jewelry store where she
could pick out a watch or bracelet and
coming up with something like that. ‘Jean-
ette you must want something here,’ she
said. The girl wouldn’t budge, though —
and a plaid raincoat she got!”
But the real adventure you look for-
ward to so eagerly in childhood, Jeanette,
is the two-weeks vacation you spend every
summer at your beloved grandmother’s in
Merced. You pack and repack your little
suitcase for weeks ahead of time. Your
grandmother, blinded for years, has never
seen you. She strokes your golden-brown
hair, she feels the snub nose and contours
of your face — and others give her every
detail about you. As for you, you are her
eyes when you are with her. You read to
her. You go to movies together, and you
describe all the stars to her. . . .
When you are ten years old, tragedy
comes very close to you, and you are al-
most blinded, too. You’re playing “cops
and robbers” with a little playmate in the
park, using wooden guns with taut rubber
bands on the end of them for “ammuni-
tion.” “Janie, look,” he says. You turn to
look at him, and he lets loose with a rubber
band, accidentally striking you in the eye.
Your mother rushes you to the doctor.
You wear a black patch over it, then dark
glasses for weeks. The rubber band missed
the pupil by a whisper, or you would have
been blind for life. It would seem Fate
already is your very good friend.
During the Christmas vacation in 1939
you make your first “professional” appear-
ance. Are you scared, Jeanette?
“Scared? I was petrified. Absolutely
turned to stone. We were doing a little
skit built around ‘Faith, Hope and Char-
ity— the greatest of these is Love.’ I sang
the ‘Wishing Well Song’ — ‘I’m wishing for
the one I love to find me some day . . .
I’m hoping — la da da de da . . .’ I was Love,
and I wore a devastating cheesecloth thing
— an eighth-grader’s Christian Dior. . . .”
This is the year, too, you’re voted “Pret-
tiest Eyes” in Weber Grammar School and
graduate mid-term from the eighth grade.
The schools are crowded in Stockton and
your I.Q. is so high that the teachers keep
having you skip grades. And this, “Little
Miss Love,” is an important day in more
ways than one. For the first time your
Mother allows you to wear rouge and a
little lipstick, thereby saving your pride
with the other girl grads who are much
older than you. . . .
You’re in high school now, and this is
your life. . . .You make the Honor Society
three years in a row. You sing in the
Presbyterian choir and with Frank Thorn-
ton (“Teach”) Smith’s high school “Trou-
badours.” The “Bob-Inn” is the “sharp”
place to go for hamburgers and chocolate
malts. As soon as you’re allowed to ride
with a boy in a car, the big adventure is
to drive out to the edge of town to “Stan’s
Drive-In.” As for your first date . . . re-
member that, Jeanette?
“That I couldn’t forget. My first real
date was with Dick Doane. We went to
a football game at Lodi and my parents
drove us. This was, of course, after a
courtship of many months, attending
Christian Endeavor together. But our real
big evening was a Christmas dance. I had
a new $12.95 aqua-colored formal that was
a vision. It just kind of floated along. I
had my hair done up. Dick sent me a
white orchid, my first. For Christmas
Mother and Daddy gave me a little short
white rabbit fur jacket. My first fur coat!
They let me open my present in advance,
so I could wear it to the dance. When I
opened the door that night for Dick, he
sort of gasped ‘Oohhh.’ I’ve never en-
joyed an evening more. I was realy living
that night.”
You’re doubly proud of that white rab- j
bit fur jacket, Jeanette. For you know
your parents will probably be paying for
it all the following year. Unwrapping it,
you look quickly at your mother’s hand —
to see if her watch and engagement ring —
with its two small sapphires and wink of
a diamond — are still there. The family
jewels move in and out of the local pawn
shop regularly during these earlier years.
For you 1940 is in many ways a very
grim year. And one better to forget. You
move to Merced for that year. Your be-
loved grandfather is incurably ill, and your
blind grandmother needs help and reassur-
ance. Your dad is working as an auto-
mobile salesman, but there’s a national
emergency and there are no new cars to
sell. You love going to school in Merced,
you make many friends, and when your
father plans to go back to Stockton and
take a job, you don’t want to move back
We found the secret
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finding peace and contentment.
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82
there. On an impulse you elope to Reno
with a young school friend. And for that
today your parents take full responsibility.
“We had been so preoccupied with many
other problems that year that we hadn’t
given Jeanette the proper attention. She
was surrounded at home by illness and a
depressing atmosphere. On the way back
i from Reno, she realized what she had
done. She came straight to us, and it was
1 all over very quickly. We went over to
the boy’s parents’ home together, and we
had the marriage immediately annulled.”
< These are wartime years. “The Hut-Sut
Song” is sweeping the country, and some
of your father’s best automobile customers,
■ the cadets stationed nearby, are constantly
banging it on your family piano at home.
You’re the little sister to them. They nick-
' name you “Double Bubble,” and they sat-
■ urate you with your favorite bubble gum.
; Some of these boys go in with General
1 Doolittle on that first raid over Tokyo,
and won’t be coming home. . . .
■ Your dad takes a job as chief outfitter
? for a shipyard. Your mother works there
as journeyman electrician. And you are
■ working at Bravo & McKeegan’s men’s
J clothing store in Stockton for fifty cents an
hour, remember?
i “I loved working in the men’s clothing
3 store. We had the biggest Army stock in
! town, and the V-cadets really used to
t flock in there. When the regular cashier
f went on vacation, I got to work with the
| business end of it, and then I had a ball
■ I loved working with figures. There was
1 one bad evening, however, which I’ll never
forget. The cash register was ten dollars
> short, .and we stayed there until late at
i night trying to find the mistake. It turned
out that it just hadn’t been rung up prop-
erly, but I was sick. . . .”
In 1943 you’re sixteen years old, and a
popular co-ed at the College of the Pacific
in your home town. And these are golden
days to be always remembered. Football
games. The annual Mardi Gras. Pledging
Alpha Theta Tau sorority. You sing with
the A Capella Choir, and your clear voice
floats with the others out the open win-
I dows and across the campus to the strains
3 of “Come to the Fair” and the school song,
i “Pacific, Hail.” You get the second lead
i in “The Pirates of Penzance,” your one
! stage experience. Music you love, but you
I hate speech class. Ironically enough, in
I speech class you feel self-conscious and
i inadequate.
I You’ve given up your high-school dream
i of being an algebra teacher by now, and
> you’re undecided about your major until
i the choir sings at the state insane asylum.
■ You’re profoundly affected by the whole
, world of the living dead. But you notice,
I when the choir sings, that music seeems to
3 be a happy medicine for the inmates. Some
■ of them seem more cheerful and relaxed.
: And you decide to major in musical
therapy.
You cannot know now, Jeanette Morri-
son, that Fate is already readying a far
: larger audience for you. Your star will
i twinkle high in the Hollywood Heavens
and you will touch the lives of millions
with another form of “happy music” you
[ make. . . .
' In 1944 you form college friendships that
i will last through the years. Two of the
sorority sisters who stand joined with you
1 in a circle in the candlelight at meetings
i are your lifetime Stockton friends, Marie
and Helen Arbios. Marie, today Mrs.
[ Frank Boyle, wife of the coach of Stockton
■ College, recalls a few college capers you
■ two shared:
1 “Quite a few, as I remember. Jeanette
i was very popular in school, as sweet as
, she was pretty, and never conscious of
her good looks at all. The kids all loved
i her. We used to double-date a lot. Ball
; games, school dances, and affairs like the
annual college Mardi Gras. Sometimes we
would go dinner-dancing at the Mark
Hopkins Hotel in San Francisco or to the
Claremont in Berkeley when our team
played Cal’s. After one game we all had
dates with some Merchant Marine officers
and we went out on the town. Jeanette
had a new hat with a veil studded with
rhinestones. We all thought it was so
dreamy. Today she screams whenever she
sees a picture that was taken that night.”
In 1944, too, first love blooms for you.
You meet Stan Reames, who’s in school
studying under the Navy’s V-12 program,
and yours is a typical college romance. On
October 6, 1945, you’re married in the
campus chapel, with Marie and Helen
Arbios, Margaret Shepherd as bridesmaids.
Your parents leave Stockton to work at a
swank winter resort and give you the use
of their duplex and all the new furniture
for a wedding gift. You eke out a service-
man’s allotment by keeping two students
who room and board with you. Stan
Reames has the big dream of someday go-
ing to Hollywood and starting his own
sixteen-piece band. . . .
But Fate is already moving in with her
own idea of a future for you —
For Christmas 1945 your parents gift
you with a holiday vacation at the Sugar
Bowl Ski Lodge, near Soda Springs, Cal-
ifornia, where your father is employed as
assistant manager and your mother as re-
ceptionist.
Vacationing at the Lodge, too, is George
Dondero, San Francisco businessman and
amateur photographer. He. shoots various
winter scenes around the Sugar Bowl, and
of the guests skiing there. Your parents
mount the photogs in an album in the
lobby. And you, too, Jeanette Morrison,
pose for a ski shot for him.
You’ve returned to college when Norma
Shearer and her husband, Marty Arrouge,
arrive at the resort. Turning the pages of
the album in the lobby one fateful day,
she’s stopped by two pictures of a fresh-
faced co-ed and her vivid radiance. That
night your parents place a long-distance
phone call, but only you know just how
excited and startled you are:
“Startled! I remember saying, ‘Oh, no —
Not me! How could I? I’ve never even
acted. Oh, no — not me. . . .’ I was so afraid
Miss Shearer might think I was an actress
— and I wasn’t. ‘Are you sure she knows
I’ve never done anything?’ I kept saying.
I wanted to make sure it was very clear
I knew from nothing about nothing. . . .”
Your parents arrange for you to come
back to the Lodge, but on Saturday before
you arrive Norma Shearer receives a mes-
sage saying her son is ill, and she’s flying
to Los Angeles even as you are bus-bound
for the Sugar Bowl. When weeks follow,
and you hear nothing further, you’re not
surprised. What would you have to offer
to the movies?
In the spring — 1946 — you accompany
your husband and sixteen musicians to
Hollywood to help Stan realize his dream
of building a fabulous band. You’ve bor-
rowed money. You’ve sold your car and
anything else that’s salable to get the stake
that will start the new band to fame. All
of you move into cheap quarters at the
Harvey Hotel on Santa Monica Boulevard.
But fifty dollars weekly for each musician,
recordings, rentals for rehearsal studios
soon eat up your stake. There are no
bookings. You’re broke, disillusioned and
wondering what the next move can be,
when Fate in the form of a forwarded
letter finally catches up with you. . . .
And here, for the first time, the star who
discovered you and who’s responsible for
that letter, Norma Shearer, tells the whole
story behind two photographs — and what
she saw in those photographs that is to
change Jeanette Morrison into a Cinder-
ella star the whole world will soon know
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83
as the screen actress Janet Leigh:
“Marty and I were at the Sugar Bowl,
skiing, and one day I was looking through
the album in the lobby at pictures of
various people at the resort. Among them
were two lovely photographs of a girl I
didn’t know. She wore no make-up. She
had long naturally brown hair, wonderful
feathery eyebrows, and there was a soft
warm breeze in her face. ‘Who is this
lovely girl?’ I asked. ‘That’s my daugh-
ter,’ the receptionist said. I asked if I
might have a copy of the picture. ‘You
may have these,’ she said, and took them
out of the album for me.
“I saw in her face an ethereal quality,
an elusive aesthetic quality, an emotional
quality which I thought was actress ma-
terial. It seemed to me everybody they
were putting in pictures then was trying
to be sexy and cute. I thought there was
a place on the screen for a face with a
quality like this.
“I took the pictures with me when I
left the Lodge. If ever the right oppor-
tunity presented itself, I knew I’d like to
do something about Jeanette Morrison.
Not to help Jeanette Morrison, but to help
my studio, Metro. However, in the process
of getting settled again when we got back
to town I was busy, and nothing happened
for some time.
“Then David Lewis was going to produce
‘Arch of Triumph,’ and he was looking for
someone to play the part of the girl. In
the book she was a fragile young girl who
dies of cancer. He was trying to talk me
into playing the part. ‘Oh, no, I wouldn’t
be right for it,’ I said. ‘But there is a girl
— a new girl — who would be great in this.’
We agreed to meet, and I would bring the
photographs.
“Marty and I met David at Romanoff’s
late one afternoon and we talked. But
when he rushed off to a preview later on,
he left the pictures behind. We were meet-
ing Benny Thau and Eddie Mannix from
Metro, and Lew Wasserman, of MCA,
there for dinner, and when they came in,
I asked, ‘Anybody want to see a lovely
face?’ I passed the pictures around the
table. My friends from Metro thought she
was a lovely girl — and that was sort of
that. But Mr. Wasserman was the smart
one. ‘May I have these?’ he asked. ‘Cer-
tainly,’ I said. ‘Her name is on the back.
I’m not sure where you will find her, but
her parents are at the Sugar Bowl Lodge.’
He said, ‘Don’t worry. I’ll find her,’ and
took the photographs. A week later he
called me. ‘I’ve got your girl placed,’ he
said. ‘Where?’ I asked. And he said, ‘At
Metro.’ Which I thought was ironic, re-
membering how Mr. Lewis had gone off
and left her pictures lying there.
“Not too long after this someone from
the M-G-M publicity department called
me. ‘Your girl has the lead with Van
Johnson in “The Romance of Rosy Ridge,” ’
he said. ‘Will you come out and have your
picture taken with her and with Van?’ I
told him I’d love to come meet her. ‘Meet
her! I thought she was your protegee,’ he
said. I’m sure' he thought she was a distant
relative — a cousin or something.
“I met her and we had a picture taken.
Gone were the feathery eyebrows, and
her wavy hair was trained to do what it
was born to do. But more than that, there
was an expression of gratitude on her
face, I shall never forget.”
Nice words, these. But in June 1946 —
broke and discouraged and wondering how
to meet the next week’s rent in a Holly-
wood hotel — you’re surprised to find any-
body thinks you’re capable of a career or
any kind. With excited widening eyes,
you read the letter that’s been forwarded
to you. And by the way, what does the
letter say?
“It was from MCA. They wanted to
know whether I was ‘planning to be in
the vicinity of Hollywood or Los Angeles
in the near future.’ And if not, would I
‘consider making a special trip down’ that
summer? I called them immediately and
told them I was already in their vicinity.
I was so excited. For my interview at the
agency the next day, I put on my best
Stockton dress — a rose wrap-around crepe
— which was pretty bad. I wore lush pur-
ple flowers in my hair and purple gloves.
And that isn’t all. Can you take more?
When I went through the lobby of the
hotel, all the boys in the band chorused,
‘You look so beautiful!’ But when I got
out to MCA I wish you could have heard
Levis Greene trying to tell me tactfully to
please somehow look like I did in the
pictures when we went out to M-G-M.
“My mother sent me a birthday check
and I bought a perfectly plain pink cotton
dress trimmed with black rick-rack braid
and I wore that. At the studio, Lucille
Ryman, head of the talent department,
said, ‘Stand up,’ and I stood up. She asked
me if I’d had any experience acting and I
said I had not. I wasn’t in there five min-
utes, and they signed me to a seven-year-
contract! Then Lillian Burns, the studio
drama coach, gave me a scene. ‘Work on
it,’ she said. I didn’t know what to do
with it, so I just memorized it. This woman
— Lillian Burns— was like my Guardian
Angel from the first time I read for her.”
And with reason. Take Lillian Burns’
word for it:
“She came in with that magnificent long
hair of hers, with stars in her eyes and
with that same enthusiasm she has today.
I’ve never met anyone who had real stars
in her eyes like this girl had. It was such
a refreshing thing, just to look at her.
She had such warmth and excitement
about her and that feeling of being so
alive and enjoying everything. I gave her
a scene from ‘Random Harvest,’ a very |
difficult scene. And I was amazed at her j
reading. She had natural talent. She had I
no conception of the acting craft — but she
had a wonderful instinctive quality we
don’t find too often in people who’ve never |
acted before. I was terribly excited about
her, but I wanted to be certain her first
reading wasn’t a fluke. By the third day j
I was convinced the quality was really I
there, that she had a real basic instinct for
acting, as well as the ability to listen, to
respond and to project. All this and that
wonderful face. I recommended the studio
not wait three months until they made the
test — but to take up Jeanette Morrison’s
option immediately and get to work with
her under her regular contract.”
So, Cinderella, your foot is inside the
magic kingdom. You’ve signed wifh Me-
tro-Goldwyn-Mayer for $50 a week. True,
the fifty dollars doesn’t stretch too far.
You and Stan take a little room in the
backyard of your uncle’s house in Glen-
dale, and you ride the bus from Glendale
to Culver City — two hours — every day.
But the stars are even bigger in your eyes.
And within those magic walls for you it’s
Christmas every day.
What you don’t know, Janet Leigh, is
but for Fate — you could have been finished
before you even started. A wave of re-
trenchment has started at the studio.
Many young players who are not working
before the cameras are let go. But your
Fate — whether in the form of a “lucky”
pink cotton dress or a snapshot in bor-
rowed ski pants — knows no obstacles. And
Destiny doesn’t desert you now. . . .
Going into production is “The Romance
of Rosy Ridge,” starring Van Johnson, the
rave of the bobby-soxers now. The girl,
a name actress, has already been cast and
her wardrobe already fitted. But director
Roy Rowland and producer Jack Cum-
mings are not satisfied. She doesn’t have
the special quality needed for this girl.
One Saturday, Stockton’s favorite
daughter is at the studio plugging eagerly
away. Strangely enough, both the director
and the producer, who seldom come in on
Saturday, are also there today. The three
of you meet . . . and a new star is born.
According to director Roy Rowland:
“Lucille Ryman called me and said she
wanted me to meet somebody. ‘This girl
has never done a part before. But she’s
been signed by the studio and I want to
know what you think of her,’ she said.
What I thought was that Jeanette Mor-
rison was the girl I must have for ‘The
Romance of Rosy Ridge.’ She had an ex-
quisite sensitive face, the dewy unsophisti-
cated quality we needed for this girl. I
took her to Jack Cummings, and he en-
thusiastically agreed. ‘I want to make a
test of this girl,’ I said. To Jeanette Mor-
rison I said, ‘I wajrt you to do everything
I tell you to do,” and she did. And more.
She responded as though she knew, too,
just how much this test meant to me.
I stayed late at the studio cutting the test
STATEMENT OF OWNERSHIP. MANAGEMENT, AND CIRCULATION REQUIRED BY THE ACT
OF CONGRESS OF AUGUST 24. 1912, AS AMENDED BY THE ACTS OF MARCH ,3, 1933, AND
JULY 2, 1946 (Title 39, United States Code. Section 233) of PHOTOPLAY, published monthly at
New York, N. Y., for October 1, 1954.
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Macfadden Publications, Inc., 205 East 42nd St., New York 17, N. Y. ; Editor, Ann Higginbotham, 205 East
42nd St., New York 17. N. Y. ; Managing Editor, Ann Mosher, 205 East 42nd St., New York 17, N. Y. ;
Secretary-Treas. , Meyer Dworkin, 205 East 42nd St., New York 17, JN. Y.
2. The owner is: (if owned by a corporation, its name and address must be stated and also immediately
thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount
of stock. If not owned by a corporation, the names and addresses of the individual owners must be given.
If owned by a partnership or other unincorporated firm, its name and address, as well as that of each
individual member, must be given.) Macfadden Publications, Inc., 205 East 42nd St., New York 17, N. Y.;
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East 42nd St., New York 17, N. Y. ; (Mrs.) Anna Feldman, 835 Main St., Peekskill. N. Y. ; King & Co., c/o
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fadden St. Phillip. 400 Linden Ave., Englewood, N. J. ; Arnold A. Schwartz, c/o A. A. Whitford. Inc., 705 Park
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or otherwise, to paid subscribers during the 12 months preceding the date shown above was: (This
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(Signed) MEYER ' DWORKIN, Secretary-Treasurer
Sworn to and sub^mbed before me this 27th day of September, 1954. TULLIO MUCELLI
Notary Public, State of New York.
No. 03-8045500. Qualified in Bronx County.
(Commission expires March 30, 1956)
84
— and I was sure she was our girl. There
was still one more thing. I didn’t know
how Van Johnson would feel about an un-
known girl playing opposite him. Van
was our big boxoffice star, but he was still
fairly new, too. The girl’s part was just
about as important as his, and he might
insist on a name star. I told him I’d like
him to see a test a girl named Jeanette
Morrison had made. “She’s never done
anything, but I want you to see her,” I
said. And Van, well Van thought she was
great. He said — and I’ll never forget this
— “Somebody had to give me a break, and
I’m glad to be able to pass it on.”
Through all of this you are walking on
wings. You cannot know all the action
going on behind the scene that’s deciding
your distiny, can you, Janet Leigh?
“I didn’t know anything about anything.
I didn’t know what to do when I got be-
fore the camera. All I knew was that I
loved the feeling of being someone else.
And for some strange reason I wasn’t too
scared. It was all a lot of fun and a won-
derfully exciting experience. One week
after the picture started I knew this was
what I wanted. Suddenly I knew I loved
this world. I couldn’t understand why I’d
never wanted to be in it before. It was
something lying there dormant — somebody
opened Pandora’s Box and there it was.
| I was nervous in the love scenes with
Van. But Van was so wonderful to me.
From the first day he was always there.
“I’ll never forget my first premiere. We
got there just after Van arrived. I had
on a beautful dress I’d borrowed from the
studio. Nobody knew me from beans and
I was just thrilled being there. All the
photographers were crowded around Van.
Suddenly he came over to me and kissed
me, and they started popping away. I
knew he did it just to get attention for
me, which was pretty wonderful!”
At the preview of “The Romance of Rosy
Ridge” they think you’re pretty wonder-
ful, too. Your name is on all lips, and all
eyes are centered on your excited face.
All there know — with your first picture —
a new and exciting star has been born. If
there’s any doubt about it, your second,
“If Winter Comes,” with Walter Pidgeon
and Deborah Kerr, cinches it.
All Hollywood acclaims you affec-
tionately their own Cinderella Girl — and
your own grateful star twinkles brighter
every year. . . .
In 1948 you are marching triumphantly
Across the screen, carrying your scepter
high. You portray Mrs. Richard Rodgers
in “Words and Music.” You play your first
dramatic role in “Act of Violence,” with
Van Heflin. You’re Meg in “Little
Women.”
This is the year, too, your college mar-
riage dissolves, and amicably.
In 1950 you return to Stockton, Cal-
ifornia— a- star. You’re heart is full when
your home town honors you with a “Janet
Leigh Day,” and your throat is as full as
it used to be in speech class when you
could find nothing to say.
One fateful evening in 1950, like any de-
serving “Cinderella” you meet your prince.
At a party in Lucey’s Restaurant in Holly-
wood you meet Universal-International’s
Anthony Curtis, who’s stolen the hearts of
girls across the nation with his first starrer,
“The Prince Who Was a Thief.” You were
to be no exception. And he falls for you,
too, with his whole uninhibited heart. In
Tony’s words:
“Janie was the movie star, the girl next
door, the girl I loved, and the girl I wanted
to spend my life with. She was the whole
and entire cast. When we were separated
a little while — when she went to Pitts-
burgh and I was on tour in Chicago — I
really realized how much I missed her.
How much a part of my life she had al-
ready become. I shopped for her ring in
Chicago, and fortunately I had my measur-
ing stick along, having carried it in my
wallet for quite some time. Once, in Holly-
wood, I’d broken a match and tried it
around her finger, and I’d marked where
it fit on mine. The jeweler thought I was
a little crazy. ‘What’s the ring size?’ he
said. ‘Second wrinkle past my knuckle,’
I said. We kept measuring the match stick
around. He thought it was a wrinkle less,
but I was right — and the ring fit Janet’s
finger perfectly.”
Yes, the ring fits. . . .
On June 4, 1951 — in the face of all the
depressing prophets who warned both of
you that marriage can destroy your careers
and dethrone you with your legion of teen-
aged subjects — you are married in the
Pickwick Arms Hotel, Greenwich, Con-
necticut, and Jerry and Patti Lewis are
standing by.
Together, you and Tony proved the
prophets are wrong, and you’re double
stars zoom.
In 1953, Janet Leigh, your happiness is
brimming over. You walk out of the office
of your long-time physician, Dr. Sarah
Pearl, with shining eyes and wings on
your heels, your final wish is fulfilled. . . .
But on July 9, 1953, tragedy strikes, and
this happy fulfillment is postponed. Dr.
Sarah Pearl is in St. John’s Hospital in
Santa Monica, a patient there, when the
phone rings heside her bed.
“I’d been in the hospital for a month,
but I kept in daily touch with Janet. I was
in traction for a spinal disc with twenty
pounds tying me up, when Janet called
this time. She was a sick girl. I knew I
couldn’t be any help to Janet in traction.
I opened my braces and got out of bed.
When I started getting into my white
trousers for surgery, the nurses really
thought I was out of my mind, but I’d been
looking after Janet when she was first
signed by M-G-M and nothing would stop
me from helping her when she needed me.
When Janet came out of surgery she said,
‘Doc — does this mean? . . .’ And I told
her, ‘You can’t have this baby, but you
can have another baby.’ She was very
brave — she took it right on the chin.”
Life has schooled you for this, too, Janet
Leigh. Taking it on the chin. But in 1954
this is your life. . . .
Your star is twinkling brighter than ever
in the Hollywood heavens. You starred in
twenty-eight pictures, in the eight years
since you and your “lucky” pink dress
went through those magic gates of M-G-M.
Today you have a fabulous new contract,
shared by Columbia and Universal-Inter-
national, and you’re presently starring in
Columbia’s sparkling musical, “My Sister
Eileen.”
You’re happily married to the public’s
own prince of hearts — and you share him
with a few millions of them. Yours, too,
is a vast kingdom of loyal subjects
throughout the land. Your love story has
captured the hearts of fans everywhere.
And although Hell’s Kitchen is a long way
from California, Tony Curtis is convinced
if Hollywood hadn’t arranged it, fate
would have led him to you.
“I would have found some reason to go
to Stockton, California— even if to sell
neckties. I would have found her some-
where— some way — some day.”
But fate willed you to shine in the sun,
Jeanette Morrison, and today you’re the
shining inspiration for every small-town
girl who hopes, and prays, life’s big pa-
rade, with all it’s romance and adventure,
won’t pass her by.
And you, Janet, will play an even great-
er part in the adventure ahead. For you
are destiny’s daughter — and you’re in de-
voted hands.
The End
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85
( Continued from page 50)
human race, but he’s no slouch when it
comes to facing up to them. Although it’s
been said that he’s hard to know, there’s a
whole league who know him well and
disagree. One thing is certain. There is
no happy medium of opinion on Victor
Mature. Just as there is no happy medium
when it comes to loving him and being
loved by him. “It’s a little frightening and
exciting all at once to find yourself in love
with a man like Victor,” said Dorothy
Stanford just after their marriage. “It’s
a little like having a benign whirlwind
hit you and settle down to stay. He isn’t
just the kind of person you can meet — say
on a vacation — have a summer romance
with, and put out of your mind and life
when summer’s over. Once you love some-
one like Vic, he fills up your whole world —
your thoughts, your heart, your life.”
It’s true. With Victor, it’s all or nothing
at all. And he’s had both. There just
is no middle ground. As long as he’s alive,
he’s going to get the most out of living.
The mediocrity, for which some settle, is
not enough.
In friendship, he expects and receives
unswerving loyalty. He also gives it, twice
over. If a friend needs a shoulder to lean
on, Victor arrives with two broad ones.
If a friend needs a dollar, Victor is there
with a checkbook. If he needs a home,
Victor’s door is always open.
Once, during a housing shortage, he
converted his garage into an apartment
for an ex-Coast Guard buddy and his
wife. Los Angeles housing authorities
ruled that, because of zoning laws, this
was illegal. The matter was settled, but
not before Victor had threatened to call out
the American Legion and march on City
Hall. And the veteran and his wife stayed
on in the apartment until they' found
other living quarters. “He’s done things
for people that few know about,” says
one friend. “He’s helped a lot of folks
financially and has never given a thought
to repayment. For years, he’s been sending
children to summer camp with Mike, his
son . . . kids that might not be able to go
otherwise. Reward? All he has to do is
look at those happy faces. And they light
up whenever you mention Vic’s name!”
He’s been called dour, sour, glum, and
his moody features lend credence to the
rumor. True, he has been known to keep
a straight face. For instance, there was
the time he applied for membership in
an exclusive Los Angeles country club.
“We’re terribly sorry,” the manager told
him. “But we don’t permit actors to be-
come members.”
“Look,” said Mature, “I can show you
my last twenty pictures and prove I’m no
actor.”
Today, he is an actor. The critics at-
test to the fact and the fans agree. And,
according to the Hollywood boxoffice
theory, there are no other catagories left
in this world. Seemingly Mature is casual
about the movie business. He’ll look over
a script to get the gist of it. He’ll take it
along with him to the nearest golf course,
hand it to a friend and ask, “Read it to
me, will you?” Then he tucks the script
away in his golf bag and trots out to
break 80.
Yet, on a set, he gives his role con-
centration and respect. When he was
shooting “The Robe,” the day arrived for
the crucifixion scene. One member of the
company began making with unnecessary
jokes before the filming began. Victor
stopped him in no uncertain terms.
If you saw that scene, it’s likely that
you’ve never forgotten, or ever will,
Victor’s expression as he watched, and his
final gesture of letting his head drop to
Tough Softie
his chest. You knew what it meant to
Demetrius and to all of the others. You
were there. “How did you do it?” someone
asked him later. “What were you thinking
about? Your eyes told the story so well,
how?”
“I tried to make the Sign of the Cross
with my eyes,” Victor explained quietly.
It was his own idea and decision.
Upon occasions, he has gone into pic-
tures that he knew would make the critics
shudder. Each picture has made money.
Each role has added to the credit side of
his experience ledger. Despite his star
status, he isn’t above taking a third lead.
“I don’t care, if I think the role is a good
one,” he says. “It’s the part that counts.”
Those who work with him at MCA, his
agency, find him most agreeable when it
comes to cooperation — and sometimes
difficult when it comes to being located.
The MCA office never sees him. He calls
in to report his whereabouts. “Is this the
office of George Chasen, the greatest agent
in the world, who’s with the greatest agency
in the world, and who has the greatest sec-
retary in the world?” he’ll ask by way of
greeting.
Needless to say, the agent, the agency,
the secretary believe that Mature can do
no wrong. He is, in their estimation, the
greatest. Even when, every-so-often, they
have to manage to locate him by guess-
work. Recently, via phone, he was asked
the address of his newly acquired home.
“Honey,’’ said Mature, “I don’t know the
house number, but the place overlooks the
ninth hole of the golf course down here — if
that’s any help!”
He hates to be alone. He loves people
and loves nothing better than to be sur-
rounded by his friends. With a new house
at his disposal, Vic packed up and walked
out — moving in for a time with Mr. and
Mrs. Barger who live nearby in Rancho
Santa Fe. After that, he was the guest of
Mr. and Mrs. Beldon Ratleman at El
Rancho Vegas.
“You have to work to make friends,”
says Victor. And he does. And greater
mutual loyalty cannot be found anywhere.
If a friend of his friend happens to make
a belittling remark behind their buddy’s
back, Victor speaks up. “Tell you what
let’s do,” he’ll suggest politely. “Let’s go
over and see him together and you can
say that again, to his face.”
He makes a great point of studying
people. He can spot a phony soon after
Color portraits of Elizabeth Taylor by Apger ;
Linda Christian by Carpenter-Apger; Piper
Laurie by Stern; Elaine Stewart by Carpenter;
Ava Gardner by United Artists; Marlon Brando
by Cronenweth; Doris Day by Stern; Tab
Hunter and Terry Moore by Smith; Virginia
Mayo and Mike O’Shea by Fink; Susan Hay-
ward by Cowles Syndicate; Edmund Purdom
by Carpenter; Jean Simmons by Bachrach;
Mitzi Gaynor, Pier Angeli, Barbara Darrow,
Cyd Charisse and Diana Lynn by Stern; Rose-
mary Clooney by Fraker; Shelley Winters by
Tolmie; Rock Hudson by Jones; Marilyn Monroe,
color, black and white by Ehrenberg.
he meets one. He’s rarely rude. Once he met
two phonies. He and a friend sat and
talked with them for a time. After a
while, Victor suggested that they leave.
“Let’s go down to La Jolla for a while,”
he said.
The friend agreed. The rest of the party
thought it would be a fine idea and in-
vited themselves along. “We’ll meet you
there,” offered Victor.
They climbed into separate cars and
drove away. When they reached the cross-
roads, Victor stopped. “Which way is La
Jolla?” he asked.
“South,” said his friend.
“We’ll go north,” said Victor.
He also attempts to avoid rules which
he knows are phony. He’ll abide by them
if he thinks they’re reasonable, or if some-
one asks him to in the right way. If not,
he’ll find a way to break them — perhaps
only a fraction, but enough for a good
laugh. At one of his clubs there is a rule
which states that all golfers are required
to wear a shirt while playing, even when
the temperature reaches the hundreds.
One warm day Victor removed his shirt.
The golf pro asked that he put it back
on. “Sure,” said Victor.
After complying with the request, he
took out his pocketknife and cut the legs
out of his slacks. “I’ve got my shirt on.
Okay?” asked Victor.
“Okay,” grinned the pro.
Most of his life, he’s made his own
rules, within reason. And life has never
been dull, for Victor Mature or for those
around him. For instance, at the age of
four, he decided to take up smoking,
reached for his father’s pipe and pro-
ceeded to light it. The flame was a mighty
one and the tobacco caught fire. However,
for a while, no one seemed to notice the
threat to his growth, tobacco-wise. The
curtains were also burning.
He was a high-spirited boy. By the time
he was fifteen, he’d been thrown out of a
number of schools that weren’t up to
coping with him. At one school, his mother
was called in so many times, other students
began to believe that she was working
there.
He’s still an extrovert. But there are
those who say that he’s an extremely sen-
sitive one. He’s also a businessman, and a
shrewd one. This, too, dates back to his
childhood. At the age of nine, he was
selling magazines. Later, he went into the
candy business, his job being to per-
suade the stores to sell the sweets. “Just
let me leave them with you,” he’d say
persuasively. “If you can’t sell them, I’ll
take them back.” They always managed to
sell the supply.
He set up candy counters in the fra-
ternity houses at the University of Ken-
tucky and in the sorority houses at the
University of Louisville. Beside the candy,
he placed a box. Payment was on the
honor system.
For a time, he ran a hotel elevator.
However, he was asked to leave one day
when he hustled the manager out of the
contraption and slammed the door behind
him. His co-workers at the hotel in those
days are still his friends, and he sees
them whenever he goes home to Louisville.
After completing school, he took over a
restaurant in his home town. He’d worked
for his father in the cutlery business and
had saved enough for a down payment.
He lost money the first month, knowing
little about the new venture. However,
he knew enough to hire an expert to run
it for him after his initial failure. When
Victor sold the restaurant, he came out
of the deal with more than a reasonable
profit.
Many have tried to explain the Mature
of today. What gives a man such drive?
What makes him go up the ladder of
success with an unequaled sense of ur-
gency? What goads him on? Perhaps, in
Victor’s case, it was an inheritance from
his parents.
His father was Austrian-Italian. His
mother, French - Greek - German - Swiss.
They came to America from Innsbruck,
Austria, and eventually settled in Louis-
ville, Kentucky. They loved their new
country and they wanted to grow with it.
Victor’s father began his life in America
as a knife sharpener. He was an astute man
with great foresight and warmth.
Victor’s father built up a prosperous cut-
lery and refrigeration business. He was
a self-made man. He wanted the same for
his son. His son wanted it, too.
Victor vowed that someday he would be
Somebody, a down-to-earth somebody.
And he made good his word. Almost
invariably stars change with their suc-
cess. It’s part of the routine, one that
Mature has never followed.
But how could he best achieve the suc-
cess he sought? There was Hollywood,
well-advertised as the land of oppor-
tunity. With forty-one dollars in his
: pocket and a supply of canned goods in
his car, Victor departed for California.
When he arrived he wired his father, “ar-
1 RIVED IN CALIFORNIA WITH ELEVEN CENTS IN
MY POCKET. LOVE AND KISSES, VICTOR.”
There was, he figured, a faint chance for
I a money order to come his way. Instead,
he received a wire, “i arrived in new york
WITH FIVE CENTS AND COULD NOT SPEAK A
WORD OF ENGLISH. YOU CAN SPEAK ENGLISH
AND HAVE SIX CENTS MORE THAN I HAD. LOVE
AND KISSES, DAD.”
“I didn’t know exactly what to do when
I got here,” remembers Victor. “But I
began to think that my most promising
future would be as an actor.”
I He went straight to Pasadena to at-
: tend tryouts at the Pasadena Playhouse,
i There, he read for the Playhouse execu-
tives and an audience full of other aspiring
■ young actors and actresses. Later, Gil-
more Brown, head of the Playhouse, sum-
; moned Victor to his office. He’d liked the
< young man’s reading. Was he aware of
i the fact that members of the Playhouse
i group worked without salary?
He wasn’t.
“I’ll see what I can find for you,” Brown
told him.
A few days later, the theatre man called,
and Victor returned to his office. There
: were odd jobs to be done: answering the
i phone, cutting the grass, running errands.
The pay was fifty cents a day.
“If you’re on a budget like that one,
there’s nothing like living in a tent,” says
Victor today. And he did. For three years,
he studied at the Playhouse. His home was
! a tent. Later, the magazines made sort of a
joke of it. But it wasn’t a joke at the time.
In 1938, he married Frances Evans. She
was an actress at the Playhouse. Frances
wanted a career. Victor wanted a career.
Somewhere along the line, love got lost,
i They were divorced in 1939.
During the yearly six-weeks vacation
allowed by the Playhouse, Victor worked
for extra cash. He washed dishes, cleaned
wallpaper, Simonized cars. When the
theatre sessions began again, he went
back to his other chores. In all, he ap-
appeared in well over sixty plays at the
Pasadena Playhouse.
Then, Hal Roach began his search for a
cave man for “One Million B. C.” He saw
Victor’s picture on a folder.
A few days later, Roach himself sent for
Victor. He met the charming girl who
worked as a casting director. “He wore a
pair of slacks and a sweat shirt. They were
about all he had,” she remembered years
later. “He’d come in and just grin. He had
a certain way with him. A definite appeal
that left you with a very positive impres-
sion of his personality, a quality that a
screen personality must possess.”
Victor was tested and given a role in
“The Housekeeper’s Daughter.” However,
he remained in his tent. “I couldn’t afford
an apartment,” he says now. “Well, per-
haps I could have, but I’d have had to
sign a year’s lease and I wasn’t sure what
was going to happen.”
He did move his tent into a Hollywood
backyard in order to be nearer the studio.
And he made improvements. The tent ac-
quired a floor and a stove. It also had
books and pictures and several pieces of
furniture. “It seemed strange to have
money in my pockets,” says Victor. “I’d
been without it for such a long time. And
I swore I’d save it, so I’d never be with-
out it again.”
After “The Housekeeper’s Daughter”
came “One Million B.C.” and a few others.
And with the series of parts came more
income and a more carefree life.
Victor liked being seen with small
blonds. A waiter at one club vowed that
in three months he had seen Victor on
the dance floor eighty times. And had
counted eighty small blonds. And, of
course, a photographer or four were al-
ways close at hand.
There was Betty Grable. He flew to
New York to be nearby while she was
appearing in “Dubarry Was a Lady.” While
he was there, Moss Hart offered him a role
in “Lady in the Dark.” Mature accepted
and became one of the more successful
rages of Broadway.
And he fell in love. The girl was Martha
Kemp, widow of the bandleader Hal Kemp.
After a hectic courtship, they scheduled
the wedding.
The marriage didn’t last. It’s said that
Martha didn’t like Hollywood, that she was
indifferent to the industry which was
Victor’s life.
When World War II began, Victor
enlisted.
Like millions of other servicemen, Victor
left a girl at home, Rita Hayworth. They’d
met while working together in “My Gal
Sal.” At the time she was divorcing Ed
Judson, and she was a very unhappy girl.
At first, with Victor, it was a matter of
cheering up his co-star. He’d play jokes,
keep her laughing. She needed laughter
in those days. And from the laughter
came love.
Then he went away to war. He spent
three years in the North Atlantic and the
South Pacific as Bo’s’n’s Mate. The “gor-
geous hunk of man” was affectionately
dubbed “hunk of junk,” and he liked it
that way. “And do you know what he did?”
asked one of his Coast Guard buddies. “He
turned down two chances to wear gold
braid. Said he didn’t want a commission,
that he’s allergic to being called Mister!”
Once, on leave, he visited Hollywood.
A premiere was being held across the
street from his hotel. Victor refused to
attend. “I’ll watch from here,” he said,
declining the invitation. “They’re taking
pictures over there, and by the time they
reach the magazines, I’ll be back at sea.
Then what? People will look at the pictures
and think that that lousy Mature is having
himself a great old time in Hollywood
while everyone else is out fighting a war.”
The war changed Victor Mature. He re-
turned to Hollywood with a new set of
values. Publicity had been necessary to
call his name to the attention of the public.
But a man should be accepted for his
ability. He had to stand on that ability.
The broken romance with Rita had also
sobered him. While he was away, she
had met Orson Welles. They’d done a magic
act together for benefits. Orson was the
magician, Rita the girl he sawed in half.
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p
Victor first heard of their marriage when
his ship docked in Boston. The news was
shouted to him as he came down the
gangplank. He stopped for a moment.
Then he grinned a wry grin. “Well,” he
said. “I guess the way to a woman’s heart
is to saw her in half.”
Victor first met Dorothy Stanford one
day at Laguna. Dorothy and Mike, her
young son by another marriage. Mike and
Vic became buddies immediately. And
the mutual friend who had introduced
the trio sat around beaming. All three
continued to become fast friends.
A little over a year later, Dorothy and
Victor were married in Yuma, Arizona.
Yet it was a case of opposites attracting.
They liked different types of people, dif-
ferent kinds of amusements. In the end,
it became a case of incompatability that
couldn’t be worked out. But not because
they didn’t try.
They settled down for a while in Victor’s
pre-war bungalow. He was proud of the
small house. It was the first piece of prop-
erty he’d ever owned and to him it repre-
sented a milestone in his life. When the
city proposed building a freeway through
his living room, he threatened to take the
case to the Supreme Court if necessary.
Fortunately it wasn’t necessary. The city
changed its mind. He still owns the house,
and his pride in it is as great as it ever
was.
When the Matures found they needed
more space, they moved into a home in
Mandeville Canyon. When he bought the
house, a writer friend kidded him about
it. “You’re the last person in the world I
thought would ever go Hollywood,” she
teased. “I hear you have a swimming pool,
too!”
An embarrassed Victor rose to his de-
fense. “We have to have more room,” he
explained. “Besides, it’s just a house. It’s
not so elaborate. And as for the swimming
pool, well, Mike needs a place for him and
his friends to swim.”
Victor thinks the world of Mike and
the feeling is mutual. When he was mak-
ing “Samson and Delilah,” Mike spread
the word around the neighborhood about
how Vic was going to tear down a temple
with his bare hands. The other boys
thought it rather a tall story. One evening
Mike greeted Victor with a small re-
quest. He wanted a neighborhood demon-
stration. He figured if Victor would push
the garage down it would do the trick.
No one could fail to be convinced then
what a great guy he was.
“Vic has more respect and feeling for
home life than anyone in the business,”
says one of his friends. “There’s nothing
he likes better than coming home, bar-
becuing a meal and sitting around watch-
ing television.”
He’s rarely seen at a nightclub or
premiere. Outside of pictures, he has other
interests. For one, a tv appliance store.
And he works at it. At one point, the sales-
men were claiming that he was selling
more television sets than his sales force.
“He comes in quite a bit to keep an eye
on things,” says Bob Graham, Vic’s store
manager and an ex-Commander in the
Navy. “And he’s made a lot of practical
suggestions which have helped business
and the running of the store.” In short,
Bo’s’n’s Mate Mature’s ship is in ship-
shape.
He keeps several tv sets in his studio
dressing room so that whether he’s around
or not, they will be available to everyone,
come World Series or football time. He’s
installed sets in the barber shops at RKO
and 20th Century -Fox. He figures that the
customers will enjoy them, and when
they’re ready to buy their own, they’ll
think of Mature.
He has other investments. “He’s a
lucky man,” says one friend. “Everything
he touches seems to turn out right.” When
he invested in an oil well the well promptly
gushed up some oil. It’s still gushing and
shows no signs of stopping.
For relaxation, Victor plays golf. A
friend from Texas took him out to a golf
course one day and made him try the
game. Victor’s been going back ever
since. “He shoots in the low 80s,” says
MacGregor Hunter, one of his golf pro
friends. “Sometimes in the 70s. He plays
with anyone who happens to be standing
around with a club. And the man has
stamina. He plays 36 holes a day easily,
while everyone else feels like dropping
dead.”
“He starts early,” says Hank Barger of
Rancho Santa Fe. “The caddies bring him
taccos and enchiladas for breakfast be-
tween shots.”
He likes to win. Once he had a bet on
the outcome of a game. However, after the
first six holes, the sun began to go down.
Vic promptly hired a truck to keep its
lights on the ball, so that the group could
finish the game. Vic and his partner won
it. “He doesn’t always win,” says Barger.
“But he’s in there pitching anyway — al-
ways trying his best.”
Victor explains it with his usual humor.
“I hit the ball three hundred yards,” he’ll
tell you. Then he’ll add, “A hundred and
fifty yards out and a hundred and fifty
yards to the right, out of bounds.”
His absence from headlines has perhaps
increased the verbal remarks on his close-
ness with a dollar. Occasionally, he’ll help
them along. For one thing, he doesn’t see
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much sense in the purchase of an e>
pensive wardrobe. He’s no clothes houn
Often the studio wardrobe department wi
supply him with wearing apparal. One
Victor was sitting with some friends
the patio of the Del Mar Hotel. He excust
himself for a moment and left the table,
young girl, sitting nearby, came ove
“Isn’t that Robert Mitchum?” she aske
proudly.
Vic’s friends grinned and mumbled £
answer that amounted to neither yes or n
When Victor returned, one of his buddii
greeted him loudly, “Hi, Bob, glad to s<
you back.”
Then he explained away Victor’s look
puzzlement. Victor grinned. “She wasr
just kidding,” he said. “She must ha\
recognized the coat, from Mitchum’s la
picture at 20th.”
He reached inside the coat pocket ar
pulled out a tag. “Robert Mitchum,” it rea<
The matter of money is no joke wii
Mature. He’s seen too many stars thro
around money and then, when their da;
of stardom are over, wonder what hap
pened to it. “He respects money as an
average American respects money,” sa;
one of his friends. “And he’s carefi
with it.”
Yet he can spend it lavishly, if tf.
cause is a good one. There’s the story
the time he started for Palm Springs wit
a thousand dollars. On the way he picke
up some hitchhiking servicemen. Most
them were broke, so he remedied the situ
ation. By the time he got to Palm Spring
he had to borrow some money from
friend for dinner.
He’s refused to squander his incom
since his first days of success, however. P
bought annuities. “People like to tal
about my financial affairs,” he’s said. “Bii
I don’t care. I can’t help it. I can stan
a little public interest. I was seven yeai
in penniless obscurity.”
He’s grateful for his success, financi;
and otherwise. One Thanksgiving Day, h
called his agent at home. “George,” h
began. “I just wanted to call and tell yo
that I’ve been thinking about what I hav
to be thankful for. I have you to than
for being my agent and helping me in th
picture business. I have my busines
manager, Robert Graham, to thank, toe
You’ve both helped provide for my finan
cial security. That’s given me peace c
mind. And I’m very sincerely grateful t
you both.”
Peace of mind — and yet no peace c
heart. The divorce is in progress. Neithe
Dorothy nor Victor are happy about i
And there was even more unhappines
when the breakup came. Victor’s mothe
became ill and he flew to Kentucky to b
with her. Then Dorothy’s father died an
Victor caught the next plane back t
Pasadena to help Dorothy and her mothe
through their difficult time. Two days late
his aunt, who had been living with hi
mother, died of cancer and again Vic wa
called upon for help.
With the marriage over, Victor is alon
again. Perhaps he’ll go on being alon<
Or perhaps it’s as a surprised Rita Hay
worth said during their courtship day:
“Why, Vic, you’re the loneliest man in th
world. You pretend to be gay. You ru
away from serious things and love. Be
you can’t go on doing it forever. Becaus
until you find a real and lasting thin*
you’ll have no happiness.”
He’d thought he’d finally found it. Bu
he’s lost it again. And what comes next
Hollywood remembers another story. C
the time he played Samson. In the pic
ture, he licked the entire Philistine arm;
with the jawbone of an ass. “After that,
he grinned, “I should be able to lick an;
problem.”
Maybe he wasn’t kidding.
The End
88
Mother's Little Dividend
( Continued from page 39)
ape-records her children’s Christmas
>rayers! And though our marriage cere-
nony was simple and unostentatious, when
t came to the children’s christenings, you’d
lave thought I had delusions of grandeur.
Not long ago a woman who expected her
irst child within four months complained,
‘I’m bored with this whole project by now.
’ll be glad to get it over.” And I felt my-
elf stiffen with momentary anger.
As for myself, I wanted a child with all
ny heart — and for years. When my doc-
or told me that I probably couldn’t have
i baby, I was so full of tears you could
lave flooded a battleship with them.
Try as I would, I couldn’t set my thrnk-
ng right about this bitter personal disap-
pointment. I’ve had disappointments be-
ore — plenty of them — including a long
lospital siege with a broken back, but I
ound myself thinking over and over —
Why am I denied a child?”
; Finally, I asked Richard how he felt
bout adopting a baby. “I’ve just got to
iave a baby,” I said. “I can’t wait.” At
irst he demurred a little, saying I was so
oung and had so many career problems
iihead. Then, a little later, he agreed. And
iur name went on the waiting list. Imme-
liately, I was a changed person. I could
tudy the wonderful family pictures in the
nagazines, attend baby showers and be
ion tented. For I, too, was going to have a
>aby!
And when little Pamela cooed in my
'irms, it was love at first sight. I couldn’t
ll-ven wait until she was a year old, so I
?;ave her a six-months’ birthday party.
And when she said “Ma-ma” and “Da-da”
it only ten months and walked a month
ater, I considered her a genius and became
rery tiresome with our friends. In fact,
Ivith both children, I’ve had to restrain my-
elf from saying to Richard, “Call Hedda
Topper, quick” at each new manifestation
>f their remarkable skills.
I wanted to start very early to familiar-
ize Pammy with the word adopted long
nefore she could understand its meaning.
_>ove is the greatest bond between parent
ind child. And the adopted baby fills an
emotional vacuum and thus is the recipi-
ent of much pent-up affection. Knowing
hat she was confident of our love, I ex-
jlained to her, from time to time, that God
bad meant her for us and we had brought
ler home and adopted her. I pointed out
i hat we had wanted a baby girl just like
ler. for a long time and that we were so
lappy to have her.
And then, five years after our marriage,
I knew I was to have a baby. And I
■ealized again that “All things work to-
gether for good, to them that love God.”
The miracle filled us with joy.
But there was one tiny misgiving. How
vould I explain to Pammy so that no
luestion of rivalry between the children
vould arise? As it turned out, I had no
) nause for worry. I explained to her that I
Svas carrying the baby because I didn’t
rwant to leave her to go find a baby brother
nr sister for her. She was deeply content.
As it happened, Ricky was an incubator
foaby and I left the hospital a week before
ne was ready to come home.
> So Richard and Pam went to the hos-
pital to bring him home. “See, Mommy,”
explained Pam, “we had to go to get our
oaby, just as you had to go get me. Now
le’s adoptinated just like me.” And when
Ricky is older I’ll explain to them both
that although they grew nine months in
different mothers, they were born the same
way and now have the same mother and
father who love them alike as members of
one family.
After Ricky joined the family, Richard
and I decided that when friends came to
see the new baby we’d first visit with
Pam and then ask her if she wouldn’t
like to show her little brother. The first
time Pam proudly led the way to the
nursery. But the second visitor hardly
entered before Pam was asking if she
wouldn’t like to see the baby. A little
foresight took care of any evidences of
jealousy.
Always I’ve had to work things out con-
cerning the children in my own way. Some
mothers find their solutions in child psy-
chology books. As for me, I know that
deep down within my heart I’ll find the
answers. If I followed a book it would
only mean doing things by rote, not by
my instincts. I think we can find truth
just in ordinary living. And that’s why
thoughtful mothers have hunches: “It
seems to me that Johnny does better
when . . or “One thing I’ve noticed about
Mary when she’s with strange children . . .”
And we don’t need child study to live by
such rules as “Love thy neighbor as thy-
self” or to discover that “You can catch more
flies with honey than with vinegar.” Such
rules were made long before the books.
Not long ago, Pam, a determined little
miss, was deliberately naughty while a
friend was over. I said to her: “Mommy
loves you, Pammy, no matter what you do.
But she doesn’t think your actions are
very lovable at this moment.” And I ex-
plained why those actions were harmful
in their effect. I knew I had to stop her
but my main concern was with making up
after the incident was over. Later, my
friend, who had studied psychology, ex-
plained, out of Pam’s hearing. “You
handled that very well, June. You made
Pam see that it was what she did and not
she herself that you didn’t approve of.”
“But that seems the only natural way
to me.”
“Some mothers would say, ‘You were
a bad little girl and Mother doesn’t love
you. Mother couldn’t love such a mean,
nasty child. If you do it again, I’ll give
you away!’ ”
Of course, there must be discipline and
punishments. Though I’m deeply senti-
mental about children and would spare
them any pain, I feel instinctively that we
must draw the line when we sense that
children want us to. I know that Pam and
Ricky want limits. They’re struggling to
take on the ways our world considers right.
And I want to bolster their efforts with
warnings of what conduct is off limits.
I believe Pam and Ricky understand
that discipline is a sign that we care.
Youngsters have to feel that from us, or
they have no reason for wanting to be
good. Take away love and you take away
the surest guarantee that a child will
attempt to work through his problems,
whatever they may be.
As far as I’m concerned children can be
children. If that means noise, occasional
freshness or giggling or shouting or bounc-
ing, that is all right with me. But I draw
the line always and without hesitation
when Pammy or Ricky endanger them-
selves, if they should mistreat playmates
or animals, when they are unnecessarily
destroying property. And sometimes when
I simply cannot stand what they are doing!
I try not to be capricious, approving some-
thing today and getting all upset about it
tomorrow. But I’m not ashamed of being
human. After all, children have to live
with humans.
And I believe that punishment should
be effective. When I told Ricky to sit in a
chair as punishment, I saw that he was
having a good time, rocking back and
forth and not in the least realizing why he
was there. If I sent Pam to her room, she
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began to color in her painting books, to
sing to herself, to have a fine time. So
I just reversed the discipline — Ricky was
sent to his room, Pam told to sit on a chair.
And they understood then that certain
actions bring certain effects.
Sometimes it happens that our children
become teachers — and we learn from them.
Pammy is attending a Catholic girls’ school,
Mary mount (And need I explain to any
mother that filling out a school application
for her brought tears to my eyes at how
fast time was flying?). For years she’d
been saying her prayers as I had been
taught to say them. So one night shortly
after she started school when I was hear-
ing her prayers, she completed the Lord’s
Prayer with “And lead us not into temp-
tation: but deliver us from evil. Amen.”
And then stopped. “Go on, dear,” I said,
“you haven’t .finished.” And I began to
prompt her: “For thine is the kingdom
and—”
“I’ve finished,” said Pam. “That’s the
way we say it in school.” I had a slight
sense of shock. After all, I thought, does
one tamper with the hallowed form of a
prayer? But I considered and told her,
“All right, darling,” and then listened to
the string of “God blesses” which Pam —
and Ricky, too, tack on so that it will keep
them up longer and require my continued
presence. . . and God bless the trees
and the tractor and my skates and my
bicycle and the well and the new pump and
Daddy’s new tools in the workshop . .
The next night Pam asked me to say the
prayer. I did, using her school form. “Go
on, Mommy,” she said. “Say the ending
like you always do. I’ll say it my way and
you say it your way.”
A fine lesson in tolerance. Like all
parents, I’ve wondered how best to intro-
duce my children to God. How much do
they understand when I attempted to
answer their questions? Will it help them
if I explain those times in my own life
when hope and love and faith convinced
me that He was near? Not long ago Ricky
asked, “Who makes puppies?” and I an-
swered, “God.” “Yes,” he said. “Just like
Daddy makes things in his workshop.” So
I know that the children will make their
own interpretations of what they see and
hear, interpretations that make sense in
their little worlds.
Although Pam is attending a Catholic
school, she will soon start Sunday school
at an Episcopalian church. My friends feel
this might confuse her; I feel that it is
immaterial where she learns to “Lift up
thine eyes to the hills from whence cometh
all strength.”
Pam loves to play records and to listen
to songs on the radio. One night, she said,
“Oh, Mommy, I heard the most wonderful
song and I’d love to have the record.”
“Fine, dear, what’s the name of it?”
“The name? I don’t know.”
“Well,” I asked, “who sang it?”
“It’s somebody you know, but I can’t
remember his name.”
“But what was the song about?”
“It’s — it’s something like a prayer.”
Armed with this confusing information
I relayed it to the clerk at a record shop.
And with no more ado, she brought out
Frankie Laine’s “I Believe.”
“Oh, no,” I told her, “it can’t be that. It
must be a child’s song. She’s only five.”
But anyway, I took it home and it was
the song. And the line Pammy particu-
larly loved was “Every time I hear a new-
born baby cry” because it reminded her
of Ricky when he was a baby!
The ways of children are indeed inscru-
table. They may say, as Pammy does,
“simple city” in her prayers instead of
simplicity or, as one child I heard of who
named his Teddy bear “Gladly.” “That’s
a funny name,” commented his mother.
“Oh, no,” said the tot, “all bears must be
named Gladly. In Sunday school we si
“Gladly my cross-eyed bear!” As you
guessed, this is “Gladly, my cross
bear.”
It brings a lump to your throat to thi
how much there is for children to' leai
They are new to this world; we are t
senior citizens. Actually, we are thi
world. Can you blame me then if, when r j
contract at M-G-M expired, I serious
considered giving up my work and stayi
home with my children? Everyone w
aghast at the idea. It’s true that I w
extremely career-minded, filled to the br;1
with biting ambition when I started
pictures. If a part I wanted desperate
was given to another, I was sunk in t
depths for weeks, thinking there was not!
ing left for me any more.
But the years passed and my sense
values changed. Today, no career pro!
lem can effect me so deeply. Today, on
my husband and my children are tl
source of my real happiness. And, aft
considering the number of actress-mothe
who are doing a fine job at home and tl
studio too, I decided to continue makii
pictures. Now and then, something ha)
pens at home which shows me that childrt
don’t need as much guidance as we su]
pose.
For instance, Ricky is a ball of fire, a
ways on the go, bubbling over and ii
dined to show off while Pammy is quiet
taking everything in on the sideline
When guests come, Ricky goes right in
his act, monopolizing the conversation
showing his tricks. Pam sits by, quiet
watching And in about ten minutes si
usually decides that her brother has he
the stage _ long enough and she goes ov<
to the guest, sits down and begins to ta!
in a most interesting way of her schod
her playmates, her activities and soon tl
guest’s attention is diverted from Rick!
and Pammy gets in her innings. SI
could vie with him in a continuous bi)
for attention — but that bright little mi:
knows a better way (You will bear wil
me while I boast just a little — won’t you?
It seems to me that many working moth
ers worry themselves needlessly about tf
time they’re apart from their children.
for me, I believe that an hour spei
teaching Pam to square dance or skafi
daily story-telling or watching Ricky buil
something; a Sunday-afternoon ride wit
Pammy and me on bicycles and Rick
proudly wheeling his birthday gift tracto:
a long hike to see our chickens, with fre
quent stops to observe the wonders of na
ture, such as an intricately woven spider
web or a shiny darting lizard — these ai
enough to keep our youngsters secure i
the knowledge that they are loved. Tlier
has always been a nurse, but the childre
knew from the first that, although sh
might care for their physical needs, it :
their parents to whom they turn. We shm
them we’re with them every step of th
way. We enjoy them — relax and have goo
times together.
Maybe I feel so strongly about this nee
for a secure childhood, because my fathe
and mother separated when I was si
months old. My father took my brothel
and I lived alternately with my grand
parents and with my mother when sh
could afford a place of our own. Late
she remarried and I had a stepbrothei
And at fifteen I began to earn my living
Might all this make me desire to coddle th
children? I hope not.
Most parents are annoyed at the earl;
rising of their youngsters, but Richard ani
I love it because we have to get up earl;
when we’re working. So we all breakfas
together at 6:30. It’s a long day until w<
return at 7 or so for a brief playtime befori
we tuck them in for the night. Evei
though Van Johnson once described m;
froggy voice as “your million-dollar cold
' n afraid it leaves something to be de-
iced for lullaby singing purposes. Though
re earned my living singing and danc-
g, the first time I started singing a
llaby to Pammy she looked up at me
■ tizzically and said, “Oh, Mommy, a lady
it ( ith the pur-ti-est voice, real soft like,
t|)( i the radio. Peggy Lee, she was. It makes
fnt|y face feel all softlike, just like when
'addy sings to me.”
So, even if I don’t measure up in that
ipartment, I try with Richard’s help,
keep the children from distorted values
• icause their parents are in the spotlight,
ed | Not long ago, the nuns at Pam’s school
ratj iked me if I’d model at a fashion show,
n | ; accepted gladly. A little classmate of
no|),ammy’s came rushing up to me. “Aren’t
>u June Allyson — the fam-u-us movie
se ar?” she asked, wide-eyed. Before I
irol >uld answer Pam spoke up sharply. “She
on n’t, either — she’s my Mommy!” And
( even forgot to correct her English,
aft; Because mine was a poverty-stricken
the ffldhood in the shadows of the rumbling
I (| hird Avenue El in New York, I confess
ikj iat I wanted to give the children twelve
ti: : everything. One Christmas Eve, for
drj istance, filled to overflowing with warmth
su||id happiness and the Godlike glow of
lat heavenly day, I piled the space under
ajie lighted tree with a fantastic array of
it beautifully packaged gifts for the children
st l-ours and those sent by our many dear
ns fiends. A sort of hush over my heart,
ii | stood looking at the fairyland scene as
io arkness was falling. Richard came in
e|! nd I expected him to be as thrilled as L
st jSweetheart,” he said, “this is all wrong,
f,; jo children should have all these presents.
.■Let’s leave a few; put some away for
s pecial occasions during tfeTyear and send
(x jll the others to children’s hospitals, or-
t( jhanages and adoption societies where
there may be no gifts at all!” As usual,
;| pilchard was right, and that’s been the
|) pattern for Christmas ever since,
f | Once I stood by Ricky’s crib, watching
it [im, relaxed and at peace, trying to
i tretch his toes and stuff them into his
liaouth and I thought, “Look, he has a
) milt-in toy. He needs so little to keep him
/ mused.” And on his first birthday party
he crinkly cellophane and the colored
(ibbons from his gifts were much more
vondrous than the toys. As I watch
lickey and Pammy at play — cutting out
iaper animals, building fabulous contrap-
ions, painstakingly coloring with crayons,
marvel at their tremendous intentness
ind concentration. No wonder, I say to
nyself, they rebel so when lunchtime or
laptime rolls around. I, too, have this
hildlike concentration. You can always
tell what picture I’m in by watching me.
If it’s a comedy I go around making what
1 1 fondly hope are gags; if a musical I’ll
dance instead of walk; if I’m portraying a
doctor I’m a crisp D.r. Allyson, day and
night.
And that reminds me how worried I
used to be about my health — hypochon-
driac June, they called me. My medicine
chest was a forest of bottles and pills. I’d
rush to the doctor with every little ail-
ment and imagined symptom. But my
children helped me overcome such anxiety.
Because children rely on you so completely
and because you’re so busy taking care of
them and a household, you simply haven’t
time to be concerned about yourself. That’s
the best remedy for too much self-concern
—motherhood. Of course, everyone knows
that getting interested in someone — or
something — is the best remedy for grief,
for shyness and loneliness.
But when I suddenly needed to get rid
of my appendix, I had to go to the hospital.
It didn’t frighten the children because
Richard was with them. And when he
became so dreadfully ill (our darkest
hour), I was with them. I found the
strength through prayer to bear up during
those nightmare days when his life hung
in the balance; when he underwent two
emergency operations and even when he
felt he wouldn’t make it. I just had to bear
up— for the children’s sake. It was difficult
but I kept my fear from showing. And I
think I succeeded because, when Richard
was brought home, pale and weak, Pammy
stood by his bed, took his hand in hers and
said softly, “You been sick, Daddy?” Rich-
ard grinned. “I know you wouldn’t want
to stay in that old hospital because it’s
much better here at home. This is the
best place in the whole world.”
So — is it any wonder that I can’t keep
the glow out of my face when I see our
children — or any children? I’m consumed
with excitement and curiosity as I ob-
serve each new step in their growth. Right
now Pam is listening to news commentators
and asking intelligent questions. A year
ago Ricky spoke only two words, “India”
and “Balboa.” Where he got them I never
knew. Today he goes on like a magpie. I
know they are eager to do more, anxious to
be big, excited to find out, thrilled when
they’ve mastered right or left or stopping
short on a tricycle. And I hope I’ll never
lose my interest and eagerness to help
them grow along the way. Even when,
some decades later, suitably attired in a
matron’s chiffon dress and fluffy hat, I’ll
happily attend two lovely June garden
weddings!
The End
£xcCu&ive f
There’s only one BING!
By Rosemary Clooney
•
tftecCaC 4t<nie& a&out
ARTHUR GODFREY
•
MILLIE’S MAMA
WARREN HULL
All in the JAN. issue of
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o
BRIEF REVIEWS
For fuller reviews, see Photoplay for mouths in-
dicated. For this month’s full reviews, see page 8.
P'V'pV' EXCELLENT V'V'V' VERY GOOD */)/ GOOD P' FAIR
A — ADULTS F — FAMILY
pV AFRICA ADVENTURE— RKO, Pathecolor:
Amiable, rambling record of a safari made by col-
umnist Robert C. Ruark. (F) November
//// AIDA — I.F.E., Ferraniacolor: Satisfying
version of Verdi's opera about the love of a captive
Ethiopian princess and an Egyptian general. Hand-
some players do the acting; voices of opera stars
are neatly dubbed in. (F) November
pW BAREFOOT CONTESSA, THE— U.A.,
Technicolor: Strange, absorbing, frequently witty
story of a Spanish dancer who becomes a Holly-
wood star. Ava Gardner is the girl, hopelessly
seeking the right man; Humphrey Bogart is her
loyal friend, a director. (A) December
\ZV BENGAL BRIGADE— U-I, Technicolor: As a
dashing British officer. Rock Hudson opposes a re-
bellion in India of the last century, is loved by
aristocrat Arlene Dahl and by a native (LIrsuIa
Thiess). Oriental-style Western. (F) December
iPpV BETRAYED— M-G-M, Eastman Color: Ex-
citing if not too convincing thriller of World War
II. Lana Turner, Clark Gable, Vic Mature are
Dutch underground agents. (F) October
p'p' BLACK DAKOTAS, THE— Columbia, Techni-
color: The Civil War goes west in a lively horse
opera. Confederate spy Gary Merrill tries to put
the Sioux on the warpath. Southerner Wanda Hen-
drix loves a Union man. (F) December
pW BLACK SHIELD OF FALWORTH, THE-
U-I; CinemaScope, Technicolor: Tony Curtis at-
tains knighthood to avenge his family, save Eng-
land, win Janet Leigh. (F) October
pVp' BREAD, LOVE AND DREAMS— Titanus:
Leisurely, charming Italian film about village ro-
. mances (titles in English). Luscious, hoydenish
Gina Lollobrigida attracts lonely Vittorio De Sica,
a police marshal. (A) December
p^pV' BRIGADOON — M-G-M; CinemaScope, Ans-
co Color: Near-copy of the Broadway hit, a musical
fantasy. Americans Gene Kelly and Van Johnson
find a mysterious Scottish village where Cyd Cha-
risse and others guard a secret. (F) November
PV^ B LILLET IS WAITING, A — Columbia, Tech-
nicolor: Too-talky suspense film. Rory Calhoun,
alleged killer, and sheriff Steve McNally invade
Jean Simmons’ isolated ranch. (F) October
PV DAWN AT SOCORRO— U-I, Technicolor:
P Slightly pretentious Western. Rory Calhoun tries
to retire from gunfighting and rescue Piper Laurie
from a life of sin. (F) October
pV DETECTIVE, THE— Columbia: As a priest
turned sleuth, Alec Guinness trails thief Peter
Finch in a quaint English movie. (F) November
p'p'' ! f DRAGNET — Warners, WarnerColor: Jack
Webb and Ben Alexander solve a gangland killing
in their dogged, TV-famed style. Skilled acting
throughout; realistic details. (F) November
V'V'/'/ EGYPTIAN, THE— 20th; CinemaScope,
De Luxe Color: Plenty of spectacle; lots of plot.
Edmund Purdom is the Pharaoh's physician; Jean
Simmons, his humble sweetheart; Victor Mature,
an ambitious military man. (F) November
pV FIRE OVER AFRICA— Columbia, Techni-
color: Colorful backgrounds, filmed on location,
highlight a wildly melodramatic yarn of smugglers
in North Africa. Agent Maureen O’Hara tangles
with a shady American adventurer (Macdonald
Carey). (F) December
k-'VV FOUR GUNS TO THE BORDER— U-I,
Technicolor: Rory Calhoun plots a bank robbery,
woos Colleen Miller and fights Indians in a vigor-
ous Western. With George Nader. (F) December
V'V' HANSEL AND GRETEL— RKO, Technicolor:
Puppets of a new and captivating design act out the
opera about two children lost in a forest, menaced
by a fearsome witch. Very young movie fans should
be spellbound. (F) December
p'pV HIGH AND DRY— Rank, U-I: Pleasing
British whimsy. As a high-pressure American ty-
coon, Paul Douglas gets the worst of a business
deal with a pixie Scottish skipper. (F) November
p'p" HLIMAN DESIRE — Columbia: Mournful tale
of passion and murder. Glenn Ford's ensnared by
Gloria Grahame, a married woman. (A) November
pV HUMAN JUNGLE, THE— Allied Artists:
Plenty of cops-and-robbers excitement. Gary Mer-
rill cleans up the toughest precinct in town, op-
posed chiefly by hoodlum Chuck Connors and
B-girl Jan Sterling. (F) December
V^pW LITTLE KIDNAPPERS, THE— Rank,
LI. A.: Delightful story of Nova Scotian settlers.
Two orphan boys are adopted by their stern grand-
pa. Adrienne Corri’s a wistful heroine, in a for-
bidden romance. (F) October
pV LITTLEST OUTLAW. THE— Disney, Techni-
color: Pleasant child-and-animal yarn, filmed in
Mexico. Young Andres Velasquez steals a beloved
horse that’s been mistreated. (F) October
V'y' NAKED ALIBI— U-I: Modest action film.
Aided by Gloria Grahame, ex-cop Sterling Hayden
seeks the crook who got him fired. (F) November
p'pV OPERATION MANHUNT— U.A.: Unusua
suspense movie. Igor Gouzenko (Harry Townes)
one-time Soviet Embassy clerk now living incogniti
in Canada, is approached by another Russian, wh(
pretends a yearning for freedom. It’s a Red plol
against Gouzenko’s life. (F) Decembei
p'VW' REAR WINDOW — Paramount, Techni
color: Ingenious thriller. Wheelchair-bound, Jamei
Stewart spies on city neighbors, suspects one ol
murder. Grace Kelly’s his sweetheart; Wendell
Corey, a detective. (F) Octobei
pW ROGUE COP— M-G-M: Detective Bob Tay
lor regrets his sell-out to the rackets when the life
of kid brother Steve Forrest is threatened. Janel
Leigh’s a night-club singer romanced by both broth-
ers Fast-paced, slick. (F) November
PV^p' SABRINA — Paramount: Audrey Hepburn’i
a charmer as a chauffeur’s daughter in a slendei
comedy-romance. Bill Holden’s a playboy; Bogart,
a stuffy Wall Streeter. (F) Octobei j
pV SHIELD FOR MURDER— U.A.: As a ruthless
police detective, Edmond O’Brien tries to get away
with robbery and murder, deceiving fiancee Marla
English and pal John Agar. (F) Novembet
pV STEEL CAGE, THE— U.A.: Off-beat prison
picture. As Warden Duffy of San Quentin, Paul
Kelly presents three stories about convicts — com-
edy, suspense and then irony. (F) Novembet
pp SUDDENLY — LI. A.: Frank Sinatra’s a psy-
chopathic gunman hired to kill the President ol
the U. S.; Sterling Hayden, a doughty local cop
Moderate degree of tension. (F) Octobei
y'V'V THREE HOURS TO KILL— Columbia
Technicolor. Taut, straightforward Western witl
unexpected angles. Bent on vengeance, Dana An
drews returns to the town where he was nearly
lynched. Donna Reed’s his ex-sweetheart; Dianne
Foster, a breezy friend. (A) Decembei
ppp WHITE CHRISTMAS — Paramount; Vista-
Vision, Technicolor: Likable tune-film with a daz-
zling star quartet. Ex-GI’s Bing Crosby and Danny
Kaye use their show-business success to aid theii
former general. Rosemary Clooney and Vera-Ellen
provide romance. (F) Decembei
ppp WOMAN’S WORLD— 20th; CinemaScope.
Technicolor: Romantic comedy about big business.
Considering Cornel Wilde, Fred MacMurray and
Van Heflin for a top job, Clifton Webb bases his
choice on the behavior of their wives: June Ally-
son, Lauren Bacall, and Arlene Dahl. Laughs and
lush New York settings. (F) Decembei :
1 _
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AMERICA’S LARGEST-SELLING MOVIE MAGAZINE • 20*
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NEW-
FANCY PANTS
MIT A DIVORCE..."
Dale Robertson’s
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PHOTOPLAY
FEBRUARY, 1955 • favorite of America’s moviegoers for over forty years
HIGHLIGHTS
“Carmen Jones”
Fancy Pants (Inside Stuff) Gai y^fo 33
There’s a Girl Called Virginia (Virginia Mayo) Dorothy Jeffers 34
My Daughter Was Ready for Marriage (Pier Angeli) . Mrs. lnrica Pierangeli 37
“I Want a Divorce . . .” (Dale Robertson) Maxine Arnold 38
Just What the Doctor Ordered (Ann Blyth) Dan Senseney 40
That Crackerjack-of-all-Trades, Calhoun (Rory Calhoun) . . Peer Oppenheimer 42
The Lady Is a Go-Getter (Grace Kelly) Martin Cohen 45
The Glass Slipper” (Leslie Caron)
If You Like What You Love You’re in Luck (Doris Day) . . . .Ernest Jacobi 49
Get With It, Kids! Tony Curtis 51
Kirks Island of Safety (Kirk Douglas) Elizabeth Ball 52
Vaguely Wonderful (Elizabeth Taylor) Faith Service 55
Cupid on the Rampage Graham 56
The Case of the Vanquished Bachelor (James Stewart) . . . Fredda Dudley 61
Hollywood Has Designs on You Gladys Hall 62
Photoplay Star Fashions
Make It at a Penny Bank Price go
STARS IN FULL COLOR
Janet Leigh 32
Cyd Charisse 32
Lori Nelson 32
Liz Taylor 33
Arlene Dahl 33
Barbara Rush 33
Virginia Mayo 35
Dale Robertson 39
Ann Blyth 41
Grace Kelly 44
Leslie Caron 46, 47
Michael Wilding 46, 47
Tony Curtis 50
Kirk Douglas 53
SPECIAL EVENTS
The Hollywood Story .Shirley Thomas 4
Impertinent Interview
Rock Hudson . . Mike Connolly 8
That’s Hollywood . Sidney Skolsky 10
Brief Reviews 12
Laughing Stock
Hollywood Parties . Edith Gwynn 16
Readers Inc 18
Let’s Go to the Movies . Janet Graves 21
Casts of Current Pictures 24
Hollywood Whispers . Florabel Muir 26
Erskine Johnson 29
Cover: Color Portrait of Doris Day, currently in Warners' "Young at Heart," by Six.
Other color picture credits on page 86
EDITORIAL STAFF
Ann Higginbotham — Editor
Ann Mosher — Supervising Editor
Evelyn Savidge Pain — Managing Editor
Rena Firth— Associate Editor
Janet Graves — Contributing Editor
Margery Sayre— Assistant Editor
ART STAFF
Ron Taylor — Art Director
Norman Schoenfeld — Assistant Art Director
FASHION STAFF
Lillian Lang — Fashion Director
Hermine Cantor — Fashion Editor
HOLLYWOOD
Sylvia Wallace — Editor
Contributing Editors: Maxine Arnold, Jerry Asher, Beverly Ott, Ruth Waterbury
Photographer : Phil Stern
FEBRUARY, 1955
VOL. 47. NO. 2
PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications, Inc., New York N Y
EXECUTIVE, ADVERTISING AND EDITORIAL OFFICES at 205 EaSt 42nd Strlet, New York 17, N Y
Editorial branch office, 321 South Beverly Drive, Beverly Hills, Calif. Harold A. Wise, Chairman of
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and Treasurer. Advertising offices also in Chicago and San Francisco. L7vvor*.in, secretary
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Re-entered as Second Class Matter May 10, 1946, at the Post Office at New York, N. Y., under the Act of
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THE
HOLLYWOOD
BV SHIRLEY THOMAS
NBC's Hollywood Correspondent
For the past few days the young man
had been brooding.
Maybe he should have stayed in the
Army. There your decisions were made
for you. But even he had to laugh at
that one. He went back over some of
the decisions he had made in the Army
— Split-second conclusions, decisions
that affected his life and those of his
comrades. No decisions in the Army?
That was a joke.
But those decisions seemed easy now.
They didn’t involve going back on a
promise you had made to yourself and
had sworn to keep; they didn’t mean
swallowing your pride; they didn’t
mean exposing yourself to a strange
new world where you felt ill at ease and
out of place. He wouldn’t do it — and
that was final.
And yet there was his brother, who
asked him to do it; there were his
friends. He’d do most anything in the
world for them, if only it didn’t require
that he return to Hollywood. He’d had
it. He remembered it all too well. The
weeks he had sat around, collecting a
salary, doing nothing. Speech lessons,
voice lessons, acting and singing and
walking and fencing — and all the time
he felt like a fool. He appreciated
everything they were doing for him
and he knew he could act certain parts
— roles that were close to his own ex-
perience.
He’d never make the grade as a
Shakespearean performer and he would
never feel at home in some of those
costume pictures. But put him in a
continued on page 6
Tomorrow, the deadliest mission ...tonight, the greatest love!
Two of today’s most
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in a love story you’ll
remember forever!
William, Holden
as Lt. Brubaker, who'd
done more than
his share! g
Fredric March
as the Admiral, big
brass . . . with a heart
°fg°ld! ^
■I VAIl.S A. MICH
Ihcry - Sf(t ton p|o ./« tclioti
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Grace Kelly
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to the ends of the earth! \
The mighty love and adventure drama from the novel
^ I that millions thrilled to in LIFE magazine by 1
I Jam^s A. Michener, Pulitzer Prize winning
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Mickey Rooney
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and fearlessness!
With ROBERT STRAUSS • CHARLES McGRAW • KEIKO AWAJI
Produced by WILLIAM PERLBERG and GEORGE SEATON • Directed by MARK ROBSON
Screenplay by VALENTINE DAVIES • From the Novel by James A. Michener • A Paramount Picture
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THE HOLLYWOOD STORY
Continued
Western setting that he knew well or
an action picture and he might get by.
Finally, bored to death with all the
lessons, tired of the inaction, of testing
for parts he never got, he threw up his
hands and headed for home.
Back home he toyed with the idea of
going into some business for himself.
And then his friends had told him of a
movie. The profits would go to the
Variety Clubs, would help them build
more boys’ clubs, more orphanages —
like the one where his brother had
stayed and had been given such excel-
lent care.
Since coming back from the war, he
had read enough and seen enough to
know what juvenile delinquency meant.
Hundreds, maybe thousands, of boys
might be guided in the proper path
with the money from the movie.
This decision was made for him
Okay, so he’d eat a little crow. It
wasn’t a dish he liked, but he could
get it down. After all, it was just for
one picture. So the young man said
yes to the deal and returned to Holly-
wood. “Bad Boy” was a hit and he
signed with Universal-International,
which gave him the kind of parts, like
Destry, he could play — and that made
him a star. In helping others, he helped
himself. That’s why the decision to do
“one for his brother” will always be
remembered by audie murphy.
The End
Listen to Shirley Thomas from Hollywood on
NBC Radio in the Pacific coast area at 5 :30 p.m.,
PST Sundays. Also to Shirley Thomas Reports
on Weekend, 3-5 r m., EST Sundays, over NBC
Radio. Consult your local ncivspaper for time
and station.
ml
FRAN 1C SINATRA
Another
sensation-role
for Sinatra,
dream-teamed
with Doris and
presented
by WARNER
BROS!
GIG YOUNG
screen play by JULIUS J. EPSTEIN AND LENORE COFFEE • PRINT BY
TECHNICOLOR
WarnerColor
DOROTHY MALONE
HENRY BLANKE DIRECTEO BY GORDON DOUGLAS presented by WARNER BROS.
Doris
and Frank
Sing 'em as
CAN!
‘TIL MY LOVE
COMES TO ME'
'YOU MY LOVE’
'JUST ONE OF THOSE THINGS'
'ONE FOR MY BABY’
'SOMEONE TO WATCH OVER ME’
'YOUNG AT HEART'
'HOLD ME IN YOUR ARMS’
■THERE’S A RISING MOON'
'READY WILLING AND ABLE’
mad
each
other
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Nobody knew what
Barney would do next-
and she didn’t care,
just so he did it
with her!
and watch for Warner Bros: spectacular filming of Thomas B. Costains famed best-seller
THE SILVER CHALICE in Cinemascope and WarnerColor- a victor saville production
IMPERTINENT INTERVIEW
BY MIKE CONNOLLY
“How do you like being coupled ro-
mantically with girls that are simply
friends?” I asked Rock Hudson. The
question was prompted by the many
magazine and gossip column items link-
ing Rock romantically with the Countess
Maria Cicogne, Betty Abbott, Phyllis
Gates, Joan Crawford and many more.
Rock was quite vehement. “I hate
rumors of any kind — about myself or
about anyone else,” he told me. “It’s
kid stuff. The stories are so ridiculous
and so unnecessary. All a reporter has
to do with me if he wants the truth is
to pick up the phone and call me. The
studio will always put him through to
me, if he is an accredited Hollywood
correspondent. And I will always level
with him — or her.”
As an example of how even the most
innocent-appearing rumors can become
ridiculous, and sometimes even ugly,
Rock cited the instance of the studio
publicity man who wanted to find an
easy way of turning down a television
producer’s request. He asked the studio
to let Rock do a personal appearance
on tv to plug Rock’s new movie and,
incidentally, the producer’s product.
The publicity man took a deep breath,
reached ’way out, and then said to the
producer, “Rock has put on an awful
lot of weight in the past few months and
is too fat to appear on tv.” The pro-
ducer passed the publicity man’s tall
one along to a newspaperman. The
newspaperman could have easily ascer-
tained that Rock, all six-foot-four of
him, weighed a lean-and-lanky 187
pounds at the time; instead he went
ahead and printed Rock was fat, com-
paring the star to Mario Lanza. The tv
show was called off because of the
rumor and a producer at M-G-M giving
credence to the falsehood, was talked
out of trying to borrow Rock from his
home studio, U-I, for a big movie.
“That was bad enough,” Rock said,
“but not long after that incident a
columnist printed a story that Betty
Abbott caught me dining in a restau-
rant in Ireland with the Countess Maria
Cicogne and became so infuriated at
finding us together that she flew back to
America! May I tell you the real truth
about this incident — and also the true
sequence of events? It goes like this:
“A few days after we finished shoot-
ing ‘Captain Lightfoot’ in Ireland I
threw a dinner party for Betty, who’d
been script girl on the picture, and
Barbara Rush, the film’s co-star, at
Les Ambassadeurs, a London club.
Betty flew back to Hollywood. Her job
was finished. The studio wanted her
back in Hollywood to work on another
picture there.
“Not long after that I visited Venice
and met the Countess Maria. It was in
Venice that I dined with the Countess.
So how could Betty have caught us
dining out together when Betty had
long since gone home? As for a ro-
mance with the Countess, there was
none.”
Rock is always amazed at each new
rumor. That’s because he is so honest
with himself. There is one rumor, how-
ever, that he kind of enjoys. That’s the
one, and this I must confess I passed
along to him at the end of our very
pleasant interview, that he’s rumored
to be one of the brightest and longest
reigning stars in the Hollywood heavens.
8
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La Bacall, with Sinatra, has stamina
THAT’S HOLLYWOOD FOR YOU
Jacques Sernas keeps Terry rushing
The wedding of the year: Pier Angeli becomes Mrs. Vic Damone
BY SIDNEY SKOLSKV
Sidney is irresistible to Joan Crawfon
P
I wish Debbie Reynolds and Eddie
Fisher don’t make a picture together
for quite a while. Don’t think it will be
good for Debbie and Eddie personally,
even if the movie is a giant hit. . . . Ava
Gardner likes to walk barefooted
around the house. Did it long before
she was the Contessa. . . . Even in the
movies you never see an actress putting
on lipstick without looking into the
mirror. They do many impossible things
in pictures, but they wouldn’t attempt
to make an audience believe this! . . .
Piper Laurie still seems a bit bewil-
dered by the fact she is a movie star.
. . . When Terry Moore was asked why
she keeps working, studying, rushing
from place to place, dating, etc., she
replied: “A long time ago I was given
the advice that it’s better to wear out
than rust out.” . . . People I never
thought were interested in Academy
Awards tell me that Marlon Brando
should win the Oscar for “On the
Waterfront.” I’ll be pulling fo# him
all the way. . . . Even on CinemaScope
they can’t make a football game look
real in the movies. It just can’t be
staged. . . . There’s Rock and Tab and
Race, but I appreciate Wayne because
he manages to remain popular with
such an ordinary first name as John.
. . . I’ve watched Joan Crawford knit
while watching a movie. Joan . is a
frantic knitter and does it while doing
everything. . . . Monty Clift doesn’t
object to appearing in a movie that is
about something. “I believe,” says
Monty, “there is an audience that wants
to escape from the escapes.”
Marilyn Monroe’s favorite singer,
bar none, is Ella Fitzgerald. The Mon-
roe has Fitzgerald records on tap at
home and in her dressing room. ... I
like Tony Curtis’ eagerness because it
has sincerity. ... At M-G-M I heard
Elizabeth Taylor say to her poodle:
“Listen, you’re going to walk there —
even if I have to carry you.”
I don’t think Grace Kelly is as diffi-
cult to understand as most people would
have you believe. She’s a smart chick —
pardon me. lady! . . . Wonder whose
records Vic Damone played when he
was romancing his bride, Pier Angeli?
... I don’t know of an actress who looks
sexier dancing on celluloid than Cyd
Charisse. She comes on strong! M-G-M
should come on stronger with her! . . .
I like the way June Allyson and Dick
Powell smile at each other at parties.
. . . Lauren Bacall told me: “When I
first started going with Bogey, I couldn’t
last as long at parties as he did. Now
he often goes home before I do. Prog-
ress, Buster, progress.” . . . Jean Sim-
mons shouldn’t be so bright, she’s too
beautiful. . . . It’s difficult for me to
realize that Doris Day is being Ruth
Etting and Susan Hayward is being
Lillian Roth. Yet it shouldn’t be diffi-
cult for me, who welcomed Larry Parks
as A1 Jolson and Keefe Brasselle as
Eddie Cantor. . . . Any movie star giv-
ing a sustained performance in a stage
play still surprises me. ... I’d love to
be listening, unobserved, to one of the
Audrey Hepburn-Mel Ferrer discus-
sions about the theatre, the movies and
acting. . . . I’m told that after Mitzi
Gaynor gave new husband Jack Bean
a tv set for the bedroom, she attached a
note reading: “I guess there’ll be no
sleeping with you now.” . . . I liked it
when Burt Lancaster mentioned it dur-
ing a conversation : “A pessimist is a
fellow who is worried that the optimist
may be right.”
Bob Mitchum consistently is the most
outspoken, and honestly so, actor. . . .
This Janet Leigh is becoming a charac-
ter. A girl friend phoned and asked if
she’d sing at her wedding. “I’d love to,”
answered Janet, “but I’m working so
hard; I’m so busy, maybe next time.”
And that’s Hollywood for you.
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BRIEF REVIEWS
For fuller reviews, see Photoplay
for months indicated. For this
month’s full reviews, see page 21.
yyyy PW pV y
EXCELLENT VERY GOOD GOOD FAIR
A— ADULTS F — FAMILY
yyyy AIDA — I.F.E., Ferraniacolor: Satisfying
version of Verdi’s opera about the love of a captive
Ethiopian princess and an Egyptian general. Hand-
some players do the acting; voices of opera stars
are neatly dubbed in. (F) November
V'VV' BAREFOOT CONTESSA, THE— U.A.,
Technicolor: Strange, absorbing, frequently witty
story of a Spanish dancer who becomes a Holly-
wood star. Ava Gardner is the girl, hopelessly
seeking the right man; Humphrey Bogart is her
loyal friend, a director. (A) December
k'W BEACHCOMBER, THE— Rank, U.A.; Tech- !
nicolor: Missionary Glynis Johns tries to reform
drunkard Robert Newton in an amusing comedy-
melodrama. Gorgeous island locale. (F) January
kW BEAU BRUMMELL— M-G-M, Technicolor:
Handsome, stately historical romance, with Stew-
art Granger as the 19th century English dandy.
Liz Taylor’s his high-born beloved. (F) January
kV BENGAL BRIGADE— U-I, Technicolor: As a
dashing British officer, Rock Hudson opposes a re-
bellion in India of the last century, is loved by
aristocrat Arlene Dahl and by a native (Ursula
Thiess). Oriental-style Western. (F) December
kV BLACK KNIGHT, THE— Columbia, Techni-
color: Alan Ladd plays mysterious avenger, saving
King Arthur’s realm and winning Patricia Medina.
Filmed in England, Spain. (F) January
V'V'V' BLACK WIDOW — 20th; CinemaScope, De
Luxe Color: Glittery whodunit about New York
cafe society. Van Heflin, Ginger Rogers are in-
volved in a young girl’s murder. (A) January
V'V'V'V CARMEN JONES— 20th; CinemaScope,
De Luxe Color: Brilliant, unusual musical, set in
America’s South. Dorothy Dandridge, as the temp-
tress, and Harry Belafonte, as the soldier she ruins,
head an all-Negro cast. (A) January
y/W COUNTRY GIRL, THE— Paramount:
Strong theme, intelligent acting. Bing Crosby
fights alcoholism to try a stage comeback, aided by
wife Grace Kelly and Bill Holden. (A) January
kWP'' CREST OF THE WAVE— M-G-M: A story
of American and British Navy men working to-
gether on dangerous torpedo experiments rouses
laughs, tension. With Gene Kelly. (F) January
yV DETECTIVE, THE— Columbia: As a priest
turned sleuth, Alec Guinness trails thief Peter
Finch in a quaint English movie. (F) November
kVV' DRUMBEAT — Warners; CinemaScope, War-
nerColor: Lively Indian-fighting yarn. Alan Ladd’s
a peace commissioner subduing rebel warriors,
wooing Audrey Dalton. (F) January
yyy FOUR GUNS TO THE BORDER— U-I,
Technicolor: Rory Calhoun plots a bank robbery,
woos Colleen Miller and fights Indians in a vigor-
ous Western. With George Nader. (F) December
yy HANSEL AND GRETEL— RKO, Technicolor:
Puppets of a new and captivating design act out the
opera about two children lost in a forest, menaced
by a fearsome witch. Very young movie fans should
be spellbound. (F) December
( Continued on page 14)
12
When other girls of her age were out with their boy friends
of a Saturday night, Marilyn sat home with Rover.
Good, old faithful Rover ... he didn’t mind the trouble*
that put Marilyn in wrong wherever she went.
£ven your (fait jytiend won t tell you
The insidious thing about *halitosis (unpleasant breath)
is that you, yourself, seldom realize you’re guilty of it
j . . and even your best friend won’t tell you.
IJou needn t be a wallflower
Why risk offending needlessly? And why trust to
lesser precautions that deodorize only
momentarily? Why not let Listerine Antiseptic
look after your breath with that wonderful
germ-killing action? Listerine instantly
stops bad breath and keeps it stopped usually
for hours on end . . . four times better
than any tooth paste.
A/o tooth paite kill 5 odor yet mi
like thii . . . initantly
Listerine Antiseptic does for you what no
tooth paste does. Listerine instantly kills
bacteria ... by millions — stops bad breath
instantly, and usually for hours on end.
You see, far and away the most common
cause of offensive breath is the bacterial
fermentation of proteins which
are always present in the mouth. And
research shows that your breath stays
sweeter longer, depending upon the degree to
which you reduce germs in the mouth.
Jliiterine clinically proved
4 time i better than tooth paite
Is it any wonder Listerine Antiseptic in recent
clinical tests averaged at least four times more
effective in stopping bad breath odors than the
chlorophyll products or tooth pastes it was tested
against? Make it a habit to always gargle Listerine,
the most widely used antiseptic in the world.
LISTERINE ANTISEPTIC
STOPS BAD BREATH
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Look for listerine Antiseptic in the
'FAMILY MEDICINE CHEST TIME"
display at your favorite store.
BRIEF REVIEWS
Continued from page 12
V/W' HIGH AND DRY— Rank, U-I: Pleasin,
British whimsy. As a high-pressure American ty
coon, Paul Douglas gets the worst of a busines
deal with a pixie Scottish skipper. (F) Novembe l
)/V^ HUMAN DESIRE — Columbia: Mournful tab j
of passion and murder. Glenn Ford’s ensnared b; j
Gloria Grahame, a married woman. (A) Novembei
LITTLE KIDNAPPERS, THE— Rank
U.A.: Delightful story of Nova Scotian settlers
Two orphan boys are adopted by their stern grand
pa. Adrienne Corri’s a wistful heroine, in a for-
bidden romance. (F) Octobei
NAKED ALIBI — U-I: Modest action film
Aided by Gloria Grahame, ex-cop Sterling Hayden
seeks the crook who got him fired. (F) November
V'V')/' PHFFFT — Columbia: Judy Holliday and
Jack Lemmon expertly portray a divorced pair who
grimly try to lead gay single lives. Slight but
smoothly done farce. (A) January
WS ROGUE COP— M-G-M: Detective Bob Tay.
lor regrets his sell-out to the rackets when the life
of kid brother Steve Forrest is threatened. Janet
Leigh’s a night-club singer. (F) November
V'V'V'V' ROMEO AND JULIET— U.A.: Beautiful,
absorbing English version of Shakespeare's play,
shot in Italy. Youthful Susan Shentall, Laurence
Harvey are lovers parted by a feud. (F) January
SHIELD FOR MURDER— U.A.: As a ruthless
police detective, Edmond O’Brien tries to get away
with robbery and murder, deceiving fiancee Marla
English and pal John Agar. (F) November
STAR IS BORN, A — Warners; Cinema]
! Scope, Technicolor: Judy Garland and James Ma-
son are excellent as a rising film star and her alco-
holic husband. Dazzling music-drama. (F) January
pV THIS IS MY LOVE— RKO, Pathe Color: Sus-
pense film about tangled emotions leading to mur-
der. Spinster Linda Darnell plots to take Rick
Jason away from Faith Domergue. (A) January
p'pV THREE HOURS TO KILL— Columbia,
Technicolor. Taut, straightforward Western with
unexpected angles. Bent on vengeance, Dana An-
drews returns to the town where he was nearly
lynched. With Donna Reed. (A) December
pV THREE RING CIRCUS— Wallis, Paramount:
VistaVision, Technicolor: Martin and Lewis create
a fair number of laughs in a vaguely plotted tale of
the big top. (F) January
)/'/' TRACK OF THE CAT — Warners; Cinema
Scope, WarnerColor: LIneven. occasionally inter-
esting. Bob Mitchum’s the bully of an unhappy
ranch family. With Tab Hunter. (F) January
P
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p'p'" TWIST OF FATE — U.A.: Filmed on the Rivi-
era, a confusing story of intrigue casts Ginger
Rogers as a lady of leisure whose protector is a
crook. With Jacques Bergerac. (A) January
y'y'y' UNCHAINED — Bartlett: Earnest, moving
close-up of an honor prison designed to rehabilitate
inmates. Chester Morris is the warden; Elroy
Hirsch, a rebellious convict. (F) January
p'pV WHITE CHRISTMAS— Paramount: Vista-
Vision, Technicolor: Likable tune-film with a daz-
zling star quartet. Ex-GI’s Bing Crosby and Danny
Kaye use their show-business success to aid their
former general. Rosemary Clooney and Vera-Ellen
provide romance. (F) December
WOMAN’S WORLD — 20th; CinemaScope,
Technicolor: Romantic comedy about big business.!
Considering Cornel Wilde, Fred MacMurray and
Van Heflin for a top job, Clifton Webb bases bis
choice on the behavior of their wives: June Ally- Jf
son, Lauren Bacall, Arlene Dahl. ( F) December
14
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BY EDITH CWYNN
l cru-Ellen cried at nuptial to Vic Rothschild
Mitzi Gaynor shrieked at bridal shower gift
Ava Gardner glittered at “The Barefoot Contessa’’
Marla English jingled at “White Christmas” preem
HOLLYWOOD PARTY LINE
Cupid took almost complete command
of the parties, showers, shindigs and
preems this month.
There were bridal showers for Jane
Powell. Pier Angeli. Eleanor Parker
and Mitzi Gaynor. One of the fanciest
girl-and-gift soirees was given jointly
by designer Helen Rose, Ann Strauss
and Esme Chandlee for Jane and Pier.
It took them two hours to open their
gorgeously wrapped packages. Aside
from the lovely lingerie and other
glamour bits. Pier got a black velvet,
sequin-studded hatbox and Janie got
a solid silver tissue box. Sighing on
the sidelines were Ann Miller. Debbie
Reynolds, Ann Blyth, Cyd Charisse,
Abbe Lane, Marilyn Erskine and Leslie
Caron. There was mucho gossip about
Marlon Brando’s engagement to Jos-
anne Berenger — and Esther Williams
flipped, “You might know a fisherman’s
daughter would land a Marlon!”
Jane Powell wore a lovely misty-blue
chiffon with a chiffon cowl at the neck
and a very full skirt to her altar-march
at Ojai with Pat Nerney. Pat wore a
misty blue necktie to match his bride’s
costume. He gave Jane a swanky new
car for a wedding gift — plus a sterling
silver set for her overnight bag. Next
night, before the Nerneys hopped to
Europe, they dined at La Rue, were
promptly spotted by Clark Gable (with
Kay Spreckels) and first thing you
know most of the people in the place
rose and toasted the happy pair.
Marla Powers tossed a bridal shower
for Mitzi Gaynor, who. too, got mar-
ried in blue; Terry Moore, with her
new 20-inch waistline, wishing out loud
she had a “serious” beau of her own,
feted Vera-Ellen. Vera became Mrs.
Rothschild in a charming candlelit
ceremony at St. Paul’s Church in the
valley — and the bride was a half-hour
late! Vera said her vows in a satin
gown of pearly tones, featuring a bod-
ice of champagne-colored jersey. After
the ceremony, at which the bride cried,
a reception was held for fifty friends.
Pier Angeli and Vic Damone said
their “I do’s” in a lavishly planned and
executed all-white affair. The ceremony
took place at St. Timothy’s Church and
Pier’s gown was whipped up by Helen
Rose; the maid of honor, who was
Marisa Pavan, Pier’s twin, and the
bridesmaid gowns were made in Italy.
After the marriage, a lovely champagne
reception was held at the Bel-Air Ho-
tel in Hollywood for hundreds of Hol-
lywood’s citizens.
The Eddie Cantors threw a huge af-
fair for Debbie and Eddie at the Bev-
erly Hills hotel — with hundreds on
hand. Debbie was in her favorite shade
—a powder-blue dress. That just hap-
pens to be Eddie’s favorite color, too.
Now to the preem of “The Barefoot
Contessa” at which Ava Gardner gar-
nered envious stares in her sirenish
outfit of pale pink — halter-necked, low,
low cut — and solidly sequined from
neck to its slinkily sheathed hemline.
Another glittery opening was the
“White Christmas” bow. At this one
Marla English wowed the lens lads by
being done up something like a Xmas
tree herself. Her long, full-skirted
gown was of white lace and silver
threads, and it was trimmed with little
round silver tree ornaments with tin-
kling bells, too — so were her long ear-
rings.
16
Kotex now comes in
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Selected by thousands of women as first choice of
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Kotex holds its shape, keeps its comfortable fit.
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So look for the new Kotex package — soft grey,
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Address your letters to Readers Inc., Photoplay. 205 East 42nd Street. Neiv York 17. New York.
We regret ice are unable to return or reply to any letters not published in this column.
ADERS
SOAP BOX:
It won’t be long before Academy Award
time is here again ami, like everyone else
in Hollywood. I am wondering who will be
the recipients of the Awards for 1954. I
hope that I’ll be there to present an Oscar
and my congratulations to one of the win-
ners. However, there’s one thing I hope I
won’t do — burden the winners with any
advice.
I received a great deal of advice after
receiving my Oscar last year, and I’m cer-
tain that it was well-meant. But if I’d actu-
ally taken it, I’m afraid I couldn't vouch
for the results today. “Now you’ll have to
No advice is good advice
be twice as careful about the roles you ac-
cept,” I was told. “You’ll have to stop and
give them some real thought. Analyze them
— no amount of concentration is enough!”
Well, I’ve always given thought to my
roles. And I’ve worked hard on them. How-
ever, there’s danger in too much concentra-
tion. You’re dedicated. You’re driven. Be-
fore long, you find that you’re excluding
everything else in your life. It adds up to
an obsession that will complicate your
career, and your everyday living off the
soundstages. And as for decisions, I’ve
found that the wisest ones are made when
you're relaxed.
To my mind, an Academy Award is a
solid gold foundation. But it’s a founda-
tion for progress, rather than self-imposed
handicaps. It’s something to build on. And
any award, or for that matter, any applause,
any compliment, any recognition in public
or in personal life, should be just that.
Donna Ref.d
I have just seen “On the Waterfront,”
with Marlon Brando. I am only fourteen
and most people would say a fourteen-year-
old is not a very good judge of acting abil-
ity, but I have never had such a great ex-
perience as seeing Brando act. I have read
that some critics and producers think of
him as a genius and now that I have seen
“On the Waterfront,” I am sincerely con-
vinced of it.
Virginia Foster
Angleton, Texas
I was born and lived in Asuncion, the
capital of Paraguay in South America, and
I arrived in the United States in September
1954. I am a graduate student at the Uni-
versity of Michigan, following studies in
the teaching ol English as a foreign lan-
guage.
It is very difficult to obtain the only copy
of Photoplay we received in our Asuncion
library every month, without waiting at
least two or three weeks, due to the great
demand of people interested in reading it.
And if any other copy is found in some
bookstore downtown, it is gone the minute
it is put on sale.
I went to Detroit two weeks ago and saw
“A Star Is Born,” and I was completely
amazed to watch the wonderful, superb and
terrific work of Judy Garland. She is tops,
and if anyone really deserves an Oscar this
year, Judy Garland does. I am looking for
this movie to come to local theatres in Ann
Arbor because for a long time I haven’t
enjoyed a movie as much as I did this with
magnificent Judy Garland.
Gloria R. Quiroca
Ann Arbor, Michigan
I am sixteen and my ambition is to meet
Dean Martin and Jerry Lewis. To me and
millions of others, they are the greatest.
Maybe they will read this poem I wrote on
them.
DEAN AND JERRY THE GREATEST
Martin & Lewis are two of a kind,
A team like them is hard to find.
To millions of people they’re known by sight
And loved for bringing much delight.
There's Dean with his soft romantic voice
And Jerry who supplies the noise.
Theyr’re a symbol of teamwork to everyone,
But behind all they do there’s more than
fun.
A career for them long ago was a dream,
But now, it’s as bright as a silvery beam.
They’re the kind who, off-stage, have a
spark of trueness
While on-stage, chase away all your blue-
ness.
And if you know and love them the way I
do,
You will only forget them when the moon
turns blue.
After all they'd done together it looked like
they'd forget
That like a cup and a saucer, Martin &
Lewis are a set.
So now Dean & Jerry, may I say from the
bottom of my heart.
We love you both together and not apart.
You’re the best that will ever live
For you have more than comedy to give.
Just looking at you is a treat —
You’re the best, Martin & Lewis, and you
can’t be beat!
Ann Frittitta
Brooklyn, New York
CASTINC:
I have just read “The Twelfth Physician”
by Willa Gibbs, which I think would make
a wonderful movie. I also think John Wayne
would be perfect as Dr. Flouen, Ruth
Roman as Diane, Carlos Thompson as
Ange, and Rita Moreno as Fidele.
Clara Miertscliin
Houston, Texas
I read somewhere recently that David 0.
Selznick bought “The Scarlet Lily,” a
novel about Mary Magdalene, and in time
was going to make a movie out of it. I
also read that Mr. Selznick postponed the
picture, for he could find no actress capa-
ble of playing the part with conviction.
After seeing Grace Kelly in a few pic-
tures I am convinced that she would do
the part justice.
Jim Kinderknecht
Kansas City, Kansas
The man behind the mask?
I think the Saturday Evening Post serial
story “The Mask of Alexander” would make
a wonderful movie with Stewart Granger
as Alexander and Grace Kelly as Bettina.
I think James Mason would do a fine job
as Falconieri.
Kathryn Hart
Boise, Idaho
I think Bob Stack would be wonderful
in the role of Lindbergh when they make
the movie of his life entitled “The Spirit
of St. Louis.” . . . Bob has the character-
istics of Lindy, being tall, blond and hand-
some, and a World War II veteran him-
self.
Delphine Schwartz
Plaquemine, Louisiana
Recently I’ve read “A Woman Called
Fancy” by Frank Yerby and thought it was
terrific. As a movie, with Yvonne DeCarlo
as Fancy, this thrilling novel would
really come to life.
Mary Morabito
Barnesboro, Pennsylvania
We have recently finished reading “A
Stone for Danny Fisher.” We think it
would make a great picture with Tab
Hunter in the leading role. The fine story
by Harold Robbins would no doubt in-
crease in popularity if Terry Moore had
the femme lead. We think Elia Kazan
should direct it.
Martin Elgarten, Ricky Franciosa
New York, New York
I think Marilyn Monroe would be super
in a picture starring her as a “rhythm and
blues” singer. She should stick to the sexy
roles that made her famous.
Peb. Ford
East Boston, Massachusetts
continued on page 20
This is an actual photograph of a woman’s hands after taking the detergent test. Tire right hand was given Jergens
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READERS INC..
Conti mi
lias anyone ever considered makii
Shelia Larger s “ I lie King’s Cavalier” in
a movie.'' Here is a list of the stars I tliii
you might use lor the production. Blai
de Lalliene Robert Wagner; Milady At
Russell Bella Darvi; lean de Norville-
James Mason; Marquis de Vaulx — Brit
Aherne; Pierre de la Barre — Race Gentn
Duchess ol Angouleme — Irene Dunni
Francis I — Jay Robinson; Renee de bailie
— Jean Simmons: Francois the Sorcerer-
Leon Askin.
Jeanne Rubba
South Egg Harbor, New Jerst
He’s a Prince among men
QUESTION BOX:
I ou id you tell me what Richard Burton’
next American picture will be?
C. A. S.
St. Paid, Minnesoti
“ Prince of Players ” for 20th. — FA).
I just read that Edmund Purdom was in
the cast of “Julius Caesar. 1 wonder if you
could teil me the part he plays. I don’t re
member seeing him at all.
Larky Jenkins
Clarksdale, Mississippi
He portrayed Strato in a very brief scene
towards the end of the film. — ED.
Three cheers for the handsomest actor in
Hollywood, Guy Madison. . . . Please clear
up a lew things tor me. In one magazine
Cuy Madison was mentioned as playing the
part ol 7 om Destry in "Destry.” In an issue
of Photoplay Andie Murphy was listed as
the star of “Destry.” Which is right? . . .
Joaxni; Winskill
Mad ison, Wisconsin
Andie Murphy has the starring role in
“Destry.” — ED.
My girllriend and I have been debatinj
who the Prince was in the movie “Beat
Brummell.” He later became king. I’v<
seen him in quite a few other movies.
Marion Machmuei.i.ei
Ripon. Wisconsin
Peter Ustinov. lie’s also a playwright. — ED
In
We’d like nothing better than to an-
swer every single letter we receive ask-
ing lor information and addresses of
the stars. We can’t! Each week hun-
dreds of letters are received. We can
only answer a limited number in Read-
ers Inc. each month. We suggest, there-
fore, that if you want to start a fan club
or write your favorite stars, address
them at their studios. And if you're
collecting photographs, a good bet is to
investigate the commercial organiza-
tions that have pictures for sale. For
a list of studios see back of book. ED.
■
f
LET’S GO TO THE
l\/1
WITH JANET GRAVES
Desiree 20th ; cinemascope, de luxe color
'V'V'V' Marlon Brando, with his commanding presence, has
n ideal role as Napoleon Bonaparte, from the conqueror’s
lays as an obscure, ambitious young military man to his
inal defeat. His saga is seen through the eyes of Desiree
Jlary, briefly his fiancee, a girl he never forgot. Jean
iimmons makes a graceful, captivating figure of Desiree,
yho finally became a queen. Rich in spectacle, the picture
till emphasizes the personal note, favors romance over
History. As the general who married Desiree and rebelled
gainst Napoleon’s dictates, Michael Rennie shows dignity
nd charm, while exquisite Merle Oberon draws sympathy as
osephine, the empress that Napoleon discarded. But Brando
lominates the cast, though it’s difficult to give such an
mazing character any common touches of humanity, family
' asl and future loves link Jean with Marlon and Michael
rreen Fire m-c-m; cinemascope, EASTMAN color
'WV' Stewart Granger and Grace Kelly are a highly
lecorative love team in this robust adventure yarn about a
iunt for emeralds in Colombia. But Paul Douglas makes
nice picture-stealing try. Granger’s a footloose type who’s
teen looking for quick money in mining ventures all over
he world; Douglas is his weary partner, maneuvered into
me last attempt. The supposed emerald mine, dug cen-
uries before by conquistadores, is on a mountainside in the
South American country (where many of the scenes were
.limed). Grace and brother John Ericson own a coffee
dantation at the foot of the mountain, and her interests
ventually collide with Granger’s. There’s gunplay, too, thanks
o some ruffianly bandits. It’s all done in good-natured
tyle, with amusing verbal sparring. family
n a quarrel with Stewart, Grace and Paul are of one mind
EXCELLENT /^/VERY GOOD GOOD p^FAIR
Best Acting: Marlon Brando
Jean Simmons
Hg rTl of the Pagan u-i; cinemascope, technicolor
'W' The sweep of savage armies and the clash of ancient
lattles build up plenty of visual excitement in this story of
\ttila’s assault on the Roman Empire of the fifth century.
\s the leader of the Huns and the conquered barbarian
ribes, Jack Palance looks appropriately ferocious. His re-
spected adversary is Jeff Chandler, as a Roman officer who
ries to persuade the emperor at Constantinople to join
orces with Rome against Attila’s expected invasion. The
imperor, however, thinks he can do business with the Hun.
^udmilla Tcherina is a rather wooden heroine, a princess
vho is Jeff’s ally. But Rita Gam gets sufficient fire into the
ole of Attila’s daughter, who, under Jeff’s influence, rebels
igainst her father’s plans. Plots and counterplots are some-
imes a bit confusing, but events move fast. family
r eff commands Ludmilla Tcherina,s palace guard — and heart
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 12 • FOR COMPLETE CASTS OF NEW FILMS SEE PAGE 24
AORE REVIEWS ON NEXT PAGE
21
CONTINUED
N/l
VV'v'V' EXCELLENT
VERY GOOD
)/\S GOOD
V" FAI R
Deep in M.y Heart m-g-m, eastman co
VVV The beloved operetta music of Sigmund Romberg po
from the screen in a generous-sized, all-star film biograp
with Jose Ferrer as the composer. His is a lighthear
performance, with a couple of hilarious interludes dur
his progress from the job of orchestra leader in a Vienn
restaurant on New York’s East Side. The statuesque He:
Traubel, with her magnificent voice, is utterly endearing
the cafe’s jovial owner. Other ladies in his life are M(
Oberon, as his collaborator on such hits as “The Studij
Prince,” and Doe Avedon, as his wife. While Jose and Hel
do several delightful numbers, most of the music is sungi
danced by top “guest” stars, including Jane Powell,
Damone, Gene Kelly, Ann Miller, Howard Keel and (.
Charisse (in an eye-filling routine). faw
With wife Doe Avedon, Jose revisits Helen Traubel’ s c
The Purple Plain rank, u.a.; technicc
FW Here’s an international movie — a British product
starring Gregory Peck with a Burmese leading lady in a st
laid in her country but shot in Ceylon. The result combi
action and a gentle love story with exotic backgrounds ;
vivid war scenes. Greg plays an RAF man sent to But
during World War II. Utterly reckless in combat, he cot
destruction to escape the memory of his bride’s death, at
side, in a London air raid. But his meeting with the loi
Win Min Than sets his spirit on the road to healing. W
he’s forced1 down on a flight over a desolate countryside,
finds his will to live has revived. His trek back is a gruel
thrilling sequence. The supporting players are capa
especially Brenda De Banzie (the heroine of “Hobs'
Choice”), as a hearty Scottish missionary. fai
.!
Win Min Than’s thoughtful sympathy restores Greg’s he i
So This Is Paris u-i, technic.
VV'/ In a cheerful, youthful tune-film, Tony Curtis si
out as a song and dance man. He plays one of tl
American sailors who hit Paris with the traditional sh
leave plans in mind. Tony first latches on to Gloria
Haven, a night-club singer. But his fancy shifts to Cori
Calvet, an heiress — though Gene Nelson, Tony’s pal,
her first. In the meantime, newcomer Paul Gilbert, tl
member of the trio, pursues a more placid romance }
cashier Mara Corday. Heart throbs enter the story w
Gloria’s project of caring for six French war orphans t
into financial difficulties. As usual, the musical num
overshadow the plot. They’re done in carefree fashion-
taxis, on Paris streets, wherever the .whim strikes. 1
performs creditably; Gene does some fine dances. fa
French girls greet Paul Gilbert, Tony and Gene at a ba ;
P
I
FOR COMPLETE CASTS OF NEW FILMS SEE PAG
1
22
MORE REVIEWS ON PAGE 28
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 12
FANS! CROSSWORD PUZZLERS!
are 400 chances to win
ENTER WITH CONFIDENCE
G. F. Gemeroy, supervisor of this contest, was named
"AMERICA’S FAVORITE CONTEST SPONSOR” for
1953-1954 by the National Contesters Association.
Gemeroy contests have been declared legal and lawful.
Judge Felix Medina, presiding over the Federal Court,
Southern District of New York, declared :,"G. F. Gemeroy’s
business of conducting, managing and supervising fund
raising campaigns, through the medium of puzzle contests,
is a lawful business entitled to protection in equity.”
ALL Gemeroy contest awards are paid promptly and
in full! At the close of the contest, every entrant will receive
a complete list of prize winners, plus a reproduction of the
actual prize-winning puzzle solution.
PRIZE MONEY NOW ON DEPOSIT! The magni-
ficent sum of $40,000 is now on deposit at the Seattle 1st
National Bank, ready to be paid to winners of this puzzle
contest.
MASTER WORD LIST
amm
amm mm ,
amm: «rs sawM******®
SEND *2 DONATION
With Puzzle Answer
and Qualify to Win
*3000°°
A FORTUNE FOR SOMEONE!
We’re going to give away $40,000.00, and soon! Besides the GRAND
AWARD of $10,000.00, there will be 399 other cash awards. 2nd
Prize is $6,000.00, 3rd Prize is $3,000.00, 4th Prize is $2,500.00,
and 5th Prize is $2,000.00. If you have never "hit the jackpot,” here
is a puzzle made to order for you. It’s exciting; it’s thrilling; and the
rules are crystal-clear. ACT NOW, for here’s an opportunity you
may never have again!
Help Build this Urgently Needed Hospital in Seattle
In our previous Hospital contests, thousands of generous persons contributed over
$350,000.00, and $50,000.00 IN CASH awards was PAID back to 400 LUCKY
WINNERS. The Hospital now owns a 35-acre site, and has at present in the bank
sufficient cash to justify immediate plans for the building of the first 200-bed unit
of the Hospital. Our Trustees are now faced with the gigantic task of raising an I
additional 2 million dollars in the next few months.
The Northwest Memorial Hospital invites the support of our friends and well-
wishers everywhere. Your donation will provide you with the satisfaction of having
supported this Hospital which is so urgently needed by the people of Seattle, with
the added opportunity to win a small fortune which can bb as much as $10,000.
SAMPLE SOLUTION
ELMA
EMME
ENZELI
ERIE
EUREKA
FAIRFAX
FEUIN
GHENT
GIZEH
HELENA
HIERA
HODGE
JESSUP
KENT
KIROV
LHASA
LOGAN
LOWELL
NOHANT
OAKLAND
OGDEN
OLNEY
OMAHA
ORION
QUAY
RACINE
ROHATYN
RUMMEL
SALEM
SEATTLE
STALIN
TACOMA
TAFT
THUR
A BRAND-NEW FUN-PUZZLE CONTEST'
No dictionaries or reference books needed. Every-
thing is right here. You know exactly what words to
use and how to spell them. There is no worry or
uncertainty about it. MATCH YOUR SKILL IN THIS
THRILLING "battle of wits” with puzzlers
EVERYWHERE.
NOW-
HOW!
riiiTTTg7l
This example solution illustrates how the words
interlock and shows the manner in which the
subtotals are obtained. The words used
are all different from the Master List and of
course cannot be used in your puzzle solution.
'o solve this easy puzzle, fill in all the blank white squares on the puzzle chart with individual letters
o spell 30 different interlocking words. Use only words selected from the 50-word Master List. Spell
rom top to bottom for vertical words, and from left to right for horizontal words. The 18 Key
, .etters spotted on the chart must remain in the positions shown. No word to be used more than once.
• Starting with the 6-letter horizontal word section at the top left corner, select a 6-letter word
F/ith "A” as fourth letter. Next, choose a 4-letter vertical word that begins with the last letter of your
op-lefr word. To help you get a good start, it’s easy to see that "ALBANY” is the 6-letter word
0 use in this position. Proceed in the same manner until all the blank letter squares are filled.
1 Each letter used is given a definite point value (see letter chart), and all inter-
Dcking letters are allowed triple (3 times) value. It is not necessary to show sep-
rate values in each letter square. Note — Triple-value letter spaces have all been
ircled. To compute each of the subtotals in the long-ladder-like column at the
ight, add together the letter values in each horizontal path or row. (Study example
hart to see how these totals are obtained.) The GRAND TOTAL, being the
total of the horizontal line totals, MUST be added together and shown at the bottom
jb the space marked "GRAND TOTAL”. In other words, the GRAND TOTAL
j; simply the total value, added together, of all the letters used in all the letter
Iquares in the entire puzzle, not forgetting the triple values where such occur,
lire object of the puzzle, when ALL the blanks have been filled, is simply to obtain
[he highest possible Grand Total when these horizontal sub-totals have been added
ogether. Pen, pencil or typewriter may be used. Residents of the United States,
Canada, Alaska, Hawaii, and Puerto Rico are eligible to enter this contest.
TIEBREAKER MAILED IMMEDIATELY
jiach and every person who submits a solution with a score within 25 points of the
Correct High Grand Total, accompanied by a donation of $2 for the Hospital
und, will be eligible to proceed at once to the Main Event Tiebreaker without a
archer donation. The Tiebreaker will be the same style as this Initial Puzzle, but
will be larger and will require more words. To break the ties, consecutive puzzles —
: ot to exceed two more — will be employed.
The same day your puzzle solution is received, we will send back by First
Class Mail your Main Event Tiebreaker, accompanied by com-
plete rules and instructions.
In this same letter, you will also receive a full explanation as to
the Special Options available whereby you have the opportunity
to increase your Prize up to the maximum Grand Award of
$10,000.00. REMBMBBR NO ADDITIONAL DONATION BEYOND YOUR
INITIAL $2 WILL BB NECESSARY AT ANY TIME TO PARTICIPATE RIGHT
TO THB END OF THB CONiEST.
Start working the Puzzle now. When completed send your solu-
tion with $2 donation to the northwest memorial hospital
ASSOCIATION, MUTUAL LIFB BLDG., SEATTLE, WASHINGTON. In a few
weeks you may have the thrill of winning a big CASH AWARD
up to $10,000.00.
G. F. GEMEROY HAS GIVEN $276,000 TO
PUZZLE HOBBYISTS Iff PAST 8 YEARS!
LETTER
VALUES
A — 5
B — 8
C — 6
D — 7
E — 5
F — 8
G — 5
H — 9
1 — 5
J — 8
K — 6
L — 9
M — 6
N — 6
0 — 6
P — 7
Q — 8
R — 4
S — 6
T— 8
U — 4
V — 9
W — 4
X — 9
Y — 9
Z — 9
HURRY! CONTEST CLOSING SOON!
Mail Your Entry Today — $1500 Bonus for Prompt Action —
Your last opportunity to qualify to win a fortune!
GRAND
TOTAL
Send addressed stamped en-
velope for large size extra
puzzle charts if you need them.
I have shown above my Grand Total for this Crossword Puzzle and also enclose my
$2 donation for the Northwest Memorial Hospital. It is understood the Main Event
Tiebreaker will be forwarded by return mail provided my onswer is within ,25 points
of the Correct Total. DEADLINE FOR ENTRIES: March 25, 1955.
Name .
Address .
City or P. O State or Prov
.if j Northwest Memorial Hospital, 209 Mutual Life Bldg., Seattle,
TS ffLOH fa /Wash. Remit in Cash, Money Order or by Personal Check.
p
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blonde beauty. With Marchand’s
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6 Rinses 25c, 2 Rinses 10c
CASTS OF CURRENT PICTURES
AT HEN A — M-G-M. Directed by Richard Thorpe:
Athena, Jane Powell; Minerva, Debbie Reynolds;
Niohe, Virginia Gibson; Aphrodite, Nancy Kilgas;
Calliope, Dolores Starr; Medea, Jane Fischer; Ceres,
Cecile Rogers; Adam Calhorn Shaw, Edmund Pur-
dom; Johnny Nyle, Vic Damone; Grandpa Mulvain,
Louis Calhern; Grandma Salome Mulvain, Evelyn
Varden; Beth Hallson, Linda Christian; Mr. Tre-
maine, Ray Collins; Mr. Griswalde, Carl Benton
Reid; Mr. Grenville , Howard Wendell; Roy, Henry
Nakamura; Ed Perkins, Steve Reeves; Miss Seely,
Kathleen Freeman; Bill Nichols, Richard Sabre.
CATTLE QUEEN OF MONTANA— RKO. Directed
by Allan Dwan : Sierra Nevada Jones, Barbara Stan-
wyck; Farrell, Ronald Reagan; McCord, Gene Evans;
Colorados, Lance Fuller; N atcliakoa, Anthony Caruso;
Yost, Jack Elam; Star fire, Yvette Dugay; Pop Jones,
Morris Ankrum; Nat, Chubby Johnson; Hank, Myron
Healey; Powhani, Rod Redwing.
DEEP IN MY HEART — M-G-M. Directed by Stam
ley Donen: Sigmund Romberg, Jose Ferrer; Dorothy
Donnelly , Merle Oberon; Anna Mueller, Helen Trau-
bel; Lilian Romberg, Doe Avedon; J. J. S Hubert,
Walter Pidgeon; Florenz Ziegfeld, Paul Henreid;
Gaby Deslys, Tamara Toumanova; Bert Townsend,
Paul Stewart; Mrs. Harris, Isobel Elsom; Lazar Ber-
rison, Sr., David Burns; Ben Judson, Jim Backus.
Guest stars: Rosemary Clooney, Gene and Fred Kelly,
Jane Powell, Vic Damone, Ann Miller, William Olvis,
Cyd Charisse, James Mitchell, Howard Keel, Tony
Martin, Joan Weldon.
DESIREE — 20th. Directed by Henry Koster: Na-
poleon, Marlon Brando; Desiree, Jean Simmons;
Josephine, Merle Oberon; Bernadotte, Michael Ren-
nie; Joseph Bonaparte, Cameron Mitchell; Julie,
Elizabeth Sellars; Paulette, Charlotte Austin; Mme.
Bonaparte, Cathleen Nesbitt; Marie, Evelyn Varden;
Mme. Clary, Isobel Elsom; Talleyrand, John Hoyt;
Despreaux, Alan Napier; Oscar, Nicolas Koster;
Etienne , Richard Deacon; Queen Hedwig, Edith
Evanson; Mme. T allien, Carolyn Jones; Fouche, Sam
Gilman; Louis Bonaparte, Larry Craine; Caroline
Bonaparte, Judy Lester; Lucien Bonaparte, Richard
Van Cleemput; Elisa Bonaparte, Florence Dublin;
Baron Morner, Louis Borell; Count Brahe, Peter
Bourne; Queen Sofia, Dorothy Neumann; Barras,
David Leonard; Princess Sofia, Siw Paulsson;
Caulaincourt, Lester Matthews; Von Essen, Gene
Roth; General Becker, Colin Kenny; Jerome, Peter
Raynolds; Pope Pius VII, Leonard George; Count
Reynaud, Richard Garrick; Marie Louise, Violet
Reusing; Montel, A. Cameron Grant.
DESTRY — U-I. Directed by George Marshall: Tom
Destry, Audie Murphy; Brandy, Mari Blanchard;
Decker, Lyle Bettger; Martha Phillips, Lori Nelson;
Rags Barnaby, Thomas Mitchell; Mayor Hiram Sell-
ers, Edgar Buchanan; “Doc” Curtis, Wallace Ford;
Bessie Mae Curtis, Mary Wickes; Jack Larson, Alan
Hale, Jr.; Eli Skinner, Lee Aaker; Sheriff Joe
Bailey, Trevor Bardette; Henry Skinner, Walter
Baldwin; Curley, George Wallace; Mac, Dick Reeves;
Dummy, Frank Richards; Dealer, Mitch Lawrence;
Bartender, Ralph Peters.
GATE OF HELL — Daiei. Directed by Teinosuke
Kinugasa: Lady Kesa, Machiko Kyo; Moritoh, Kazuo
Hasegawa; Wataru, Isao Yamagata; Kiyomori,
Koreya Senda; Shigemori, Yataro Kurokawa; Ro-
kuroh, Kotaro Bando; Kogenta, Jun Tazaki.
GOOD DIE YOUNG, THE— U.A. Directed by
Lewis Gilbert: Rave, Laurence Harvey; Denise,
Gloria Grahame; Joe, Richard Basehart; Mary, Joan
Collins; Eddie, John Ireland; Angela, Rene Ray;
Mike, Stanley Baker; Eve, Margaret Leighton; Sir
Francis Ravenscourt, Robert Morley; Mrs. Free-
man, Freda Jackson; Tod Maslin, Lee Patterson;
Dr. Reed, Walter Hudd; Carole, Patricia McCarron;
Stookey, Leslie Dwyer; Burns, Thomas Gallagher;
Bunny, George Rose; David, James Kenney; Milton
{Boxer), Alf Hinds; Carruthers, MacDonald Parke;
Boxing M. C., Patsy Hagate (Himself); Barmaid,
Marianne Stone; Air Hostess, Sheila McCormack;
Air Hostess, Zena Barry; Doctor (Baths), Hugh
Moxey; Doctor (Hospital) , Harold Siddons; Police-
man, John McRae; Young Man, Alexander Davion;
Young Woman, Stella Hamilton; Promoter, Philip
Ray; Pretty Girl, Sandra Dome; Szvitchboard Girl,
Joan Heal; Referee, Joe Bloom; Winnie, Patricia
Owens; Doris, Susan Shaw.
GREEN FIRE — M-G-M. Directed by Andrew Mar
ton: Rian X. Mitchell, Stewart Granger; Catherim
Knowland , Grace Kelly; Vic Leonard, Paul Doug
las; Donald Knowland, John Ericson; El Moro
Murvyn Vye; Manuel, Jose Torvay; Father Ripero
Robert Tafur; Jose, Joe Dominguez; Officer Perez
Nacho Galindo; Dolores, Charlita; Hernandez, Nativi
dad Vacio; Antonio, Rico Alaniz; Roberto* Paul Mar
ion; Juan, Bobby Dominguez.
LAST TIME I SAW PARIS, THE — M-G-M. Di
rected by Richard Brook : Helen Ellswirth, Eliza
beth Taylor; Charles > ills, Van Johnson; Jc.me;
Ellswirth, Walter Pidgeon; Maricm Ellswirth, Donne
Reed; Lorraine Quarl, Eva Gabor; Maurice, Kurl
Kasznar; Claude Matine, George Dolenz; Paul, Rogei
Moore; Vicki, Sandra Descher; Mama, Celia Lovsky:
Barney, Peter Leeds; Campbell, John Doucette;
Singer, Odette.
PURPLE PLAIN, THE — U.A. Directed by Rob-
ert Parrish: Forrester, Gregory Peck; Anna, Wir
Min Than; Dr. Harris, Bernard Lee; Blore, Maurice
Denham; Mr. Phang, Ram Gopal; Miss McNab
Brenda De Banzie; Carrington, Lyndon Brook; Al-
dridge, Anthony Bushell; Sgt. Brown, Jack Me
Naughton; Navigator Williams, Harold Siddons;
Flight-Lieutenant, Peter Arne; Dorothy, Mya Mya
Spencer; Mrs. Forrester, Josephine Griffin; Radic
Operator, Lane Meddick; Burmese Jeweler, Johr
Tinn; Old Woman in Jeweler’s Shop, Soo Ah Song:
Nurse, Dorothy Alison.
SIGN OF THE PAGAN— U-I. Directed by Doug
las Sirk: Marcian, Jeff Chandler; Attila, Jack Pal
ance; Princess Pulcheria, Ludmilla Tcherina; Kubra
Rita Gam; Paulinas, Jeff Morrow; Ildico, Allisor
Hayes; Astrologer, Eduard Franz; Theodosius
George Dolenz; Myra , Sara Shane; Chrysaphius
Alexander Scourby; Sangiban, Pat Hogan; Gunda
har, Howard Petrie; Edecon, Michael Ansara; Bleda
Leo Gordon; Tula, Rusty Wescoatt; Mirrai, Chucl
Roberson; Olt, Charles Horvath; Pope Leo, Moroni
Olsen; Chilothe , Robo Bechi; Herculanus, Sim Iness;
Valentinian, Walter Coy.
SO THIS IS PARIS— U-I. Directed by Richarc
Quine: Joe Maxwell, Tony Curtis; Colette d’Avri
(Janie Mitchell). Gloria De Haven; A l Howard, Gene
Nelson; Suzanne Corel, Corinne Calvet; “Davey’
Jones, Paul Gilbert; Yvonne, Mara Corday; Carmen
Allison Hayes; Christiane, Christiane Martel; Ingrid
Myrna Hansen; Pierre Dcshons, Roger Etienne:
Grand’ mere Marie, Ann Codee; Albert, Arthui
Gould-Porter ; Miss Photo Flash, Regina Dombeck:
Simone, Michelle Ducasse; Cecile, Maithe Iragui
Eugene, Lucien Plauzoles; Chariot, Numa Lapeyre.
J eanninc , Lizette Guy.
TONIGHT’S THE NIGHT— A. A. Directed b)
Mario Zampi : Jasper O’Leary, David Niven; Sereni
McGlusky, Yvonne DeCarlo; Thady O’Heggarty
Barry Fitzgerald; Terence, George Cole; Doctoi
Flynn, Robert Urquhart; Lannigan, Eddie Byrne
General O’Leary, A. E. Matthews; Kathy McGlusky
Noelle Middleton; Solicitor, Anthony Nicholis; Re
gan, Liam Redmond; Major McGlusky, Michae
Shepley; Dooley, Joseph Tomelty.
VIOLENT MEN, THE — Columbia. Directed b)
Rudolph Mate: John Parrish, Glenn Ford; Marthc
Wilkison, Barbara Stanwyck; Lew Wilkison, Edwarc
G. Robinson; Judith Wilkison, Dianne Foster; Coli
Wilkison, Brian Keith; Caroline Vail, May Wynn:
Jim McCloud, Warner Anderson; Tex Hinkleman
Basil Ruysdael; Elena, Lita Milan; Wade Matlock
Richard Jaeckel; Magruder, James Westerfield
DeRosa, Jack Kelly; Sheriff Martin Kenner, Willi;
Bouchey; Purdue, Harry Shannon; George Menefee
Peter Hanson; Jackson, Don C. Harvey; Tony, Robe
Bechi; Dryer, Carl Andre; Hank Purdue, Jame;
Anderson; Mrs. Vail, Katharine Warren; Mr. Vail
Tom Browne Henry; Bud Hinkleman, Bill Phipps
WEST OF ZANZIBAR— U-I. Directed by Harr>
Watt: Bob Payton, Anthony Steel; Mary Payton
Sheila Sim; Ushingo, Edric Connor; M'Kzvongzei
Orlando Martins; Tim Payton, William Simons;
Lawyer Dhofar, Martin Benson; Ambrose, David
Osieli; Bethlehem, Bethlehem Sketch; Kliingoni
Peter Illing; Half Breed, Edward Johnson; Juma
Juma; Wood, Howard Marion Crawford; Colonc>
Ryan, R. Stuart Lindsell; Dhow Captain, Sheikb
Abdullah; Ketch African, Joanna Kitau; Senior
Official, Roy Cable; Tana, Fatuma.
24
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WHISPERS
Rhonda Fleming, with husband Dr. Lew Morril
and Bob Stack, had a new change of heart
BY FLORA BEL MUIR
The very QT sale of the Harry James-
Betty Grable mansion, their honeymoon
cottage, and how this has revived those
rumors . . . The teetering romance of
Grace Kelly and Oleg Cassini and
whether it may survive the opposition
of her family on religious ground. In-
sider’s tip: Don’t sell this one short
. . . Cy Howard’s attempt to legally
adopt the young son of his bride,
Gloria Grahame, thus tending to set at
rest the stories that Cy and Gloria
aren’t hitting it off.
The new and not so resigned attitude
taken by Greta Peck, who, it seems,
hoped against hope her Gregory would
come home. Now with Greg reaping a
fortune, before taxes, from every star-
ring part he plays, Greta is holding out
for a larger portion of the community
property and that’s what’s brought him
home . . . The growing signs that In-
grid Bergman and Roberto Rossellini
have had it . . . The improbability that
Linda Christian and Edmund Purdom
will eventually marry.
Jack Webb’s househunting in Palm
Springs with Dorothy Towne . . . How
Victor Mature’s estranged Dorothy is
pulling the financial cinches. “Bleeding
me white” is Vic’s way of putting it
. . . About the tentative passes being
made at each other by Marilyn Monroe
and Joe DiMaggio and whether these
will add up to a reconciliation. The
consensus: not at all unlikely . . .
Rhonda Fleming’s decision to pass
most of the time in Italy since her split-
up with Dr. Lew Morrill and the hint
an Italian nobleman with mucho lire
is in the picture . . . Whether Johnnie
Ray and Marilyn Morrison, after sev-
eral attempts to come to an understand-
ing, will ever make it to matrimony
again. Could be, of course, but don't
bet.
i
26
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27
MOVI ES Continued from page 22
Athena m-g-m, Eastman color
V'VV Bright and fresh, with an engaging
tongue-in-cheek manner, this musical bub-
bles over with young romance and kindly
jabs at California eccentricities. Edmund
Purdom. as a stuffy attorney and would-be
Congressman, finds himself being chased
(with marital intentions) by a determined
Jane Powell. Attracted against his will,
he visits Janie’s beautiful but astonishing
home; meets a family that vigorously up-
holds numerology, astrology, diet fads,
simple living and muscle-building. As
one of Janie’s six sisters, Debbie Reynolds
dances off with many scenes, captures Vic
Damone, aptly cast as a popular crooner.
Louis Calhern and Evelyn Varden are im-
pressively wacky and likable as the sisters’
grandparents, heads of this odd house-
hold. Janie, Vic and Debbie carry the gay,
imaginative musical numbers; Edmund’s
restricted to watching and listening, which
he does with great amiability. family
Destry u-i, technicolor
EW The admirable directness and wry
humor that have come to be associated
with Audie Murphy Westerns turn up
again in this entertaining item. Audie
now must clean up a fantastically corrupt
frontier town run by gambler Lyle Bett-
ger. The mortality rate among local
sheriffs is notably high. When the latest
meets sudden death, Lyle appoints the
town drunk (Thomas Mitchell) to wear
the star. Mitchell chooses to take the gag
seriously, sends for Audie to be his deputy.
However, Audie’s height, manner and dis-
taste for guns hardly live up to his for-
midable reputation. He’s a laughingstock
as he sets about solving the sheriff’s mur-
der. But dance-hall gal Mari Blanchard
and nice gal Lori Nelson aren't as amused
as the rest of the town. In a weird twist
of titling. “Destry” is said to be a sequel
to “Destry Rides Again,” the old James
Stewart-Marlene Dietrich hit. It’s prob-
ably an even closer relative, also with a
comic turn. family
HARRISON -DAVIDSON,
Gate of Hell EASTMAN COLOR
V'V'V' Japanese movie-makers have recent-
ly shown their ability to fill the screen
with one beautiful design after another.
Now they've added color, and produced a
subtle treat for the eyes. The story’s set
in 12th century Japan, trampled (like
Europe of that day) by warring feudal
lords and their samurai (the equivalent of
armored knights). One such warrior, a
blunt fighting man, is helping to foil a
rebellion against his leader when he meets
a lovely lady of the court. The battle’s
won, and the soldier is offered any reward
he wants. He asks for the lady’s hand.
But she is already married, deeply in love
with her husband, an understanding and
civilized man. The manners of the people
are fascinatingly strange; their movement,
slow and stylized. But the emotions un-
p derlying the deadly triangle show that
humanity hasn't changed much. (English
titles translate the dialogue.) adult
M-C-M,
The Last Time / Saw Paris technicolor
Vv'v' The movie that Elizabeth Taylor
and Van Johnson go through with such
convincing emotion is a picture of rootless
Americans in Europe. It’s also that Holly-
wood rarity — a very affecting love story.
By a chance encounter near the end of
World War II, Army officer Van becomes
involved with an American family living
in Paris. The father (Walter Pidgeon)
happily gets by on credit, with a good
time as his chief aim in life. The younger
daughter (Liz) drifts along in the same
way. The older (Donna Reed), a con-
servative person, is interested in Van, but
promptly loses him to her sister. Suddenly
and passionately in love. Van and Liz em-
bark on a strange marriage. For a time,
he tries a literary career and yearns for
home, while she goes in whimsical pursuit
of pleasure. Then their roles are reversed :
Van dedicates himself to fun, while Liz
A V-E Day celebration in Paris brings Van
and Liz together — and sparks begin flying
urges a return to America. The switch
isn’t explained with enough force, but the
end of this couple’s story has real impact,
with a heart-catching crisis over the future
of their child (Sandra Descher). adult
COLUMBIA; CINEMA-
The Violent Men scope, technicolor
/W The old range wars sweep across
the CinemaScope screen with three de-
cisive personalities to spark the conflict.
Glenn Ford has come west to recover
from Civil War injuries. Tired of battle,
he’s ready to pull out when rancher Ed-
ward G. Robinson, eager to own the whole
valley, tries to bully Glenn into selling his
small property. Instead, like a good West-
ern hero, Glenn decides to put up a
fight. As it turns out. it’s Robinson’s wife
(Barbara Stanwyck, gone blond) who has
brought violence into the valley. She
hopes to rule it, with the aid of her
brother-in-law and lover (Brian Keith).
There’s an impressive amount of blood-
shed, and the whole story’s in a grimly
serious vein. Glenn has two loves: May
Wynn, a soft and selfish coquette; Di-
anne Foster, spirited daughter of his
enemies. family
Cattle Queen of Montana rko, technicoli
PV' Now it’s Barbara Stanwyck (turne
redhead) who defends her proper!
against a ruthless rancher (Gene Evans
coveting the whole valley. Barbara’s dai
newly arrived in Montana, is killed 1
Indians as he’s about to settle down. SI
can’t claim title to the land, since li
papers have been stolen, along with h
cattle. In her plight, she is aided 1
friendly Indians and by Ronald Reagai
a cowhand just hired by her enemy. Th
story offers few surprises, but lots i
shooting and galloping. fa mu
Tonight’s the Night a. a., technicoli
V'V' Three familiar Hollywood faces to
the cast of a British-made film with Iris I
settings that try to recall “The Quit
Man.” There’s some promise in the cei
tral idea. The rough-riding, benevoler
old squire of an Irish village suddenl
dies, leaving his estate to a nephew h
hardly knows. This is the debonair Davi
Niven. Sentimentally welcomed by th
townspeople, Niven soon proves himself
thoroughgoing bounder, out to get ever
cent he can and then take off. He dun
people for old debts, dispossesses cotta;
ers, fires the family retainer (Barry Fit;
gerald). In desperation, the villagers tr
a crazy variety of schemes to murder th
menace. Meantime. David dallies wit
a local girl (Yvonne DeCarlo) almost a:
unscrupulous as he is. Unfortunately
the comedy’s handled clumsily. fame
The Good Die Young u. i
V'V Able American and English pe;
formers find their talents mostly wasted i
an undistinguished British suspense filn
It all points toward a daring robber
staged by four men who’ve met (too coil
cidentally) in a London pub. Ex-GI Riel
ard Basehart has come to England to pr
wife Joan Collins away from her hyp<
chondriac mother. John Ireland, America
Air Force flyer, wants money to win bac
his faithless wife (Gloria Grahame). Stai
ley Baker, maimed by prize-ring injurie
can’t find employment. All three are vii
timized by Laurence Harvey, mastermin
of the proposed robbery. He has been li'
ing off his artist wife (Margaret Leigl
ton), who has given him an ultimatun
Obviously, disaster lies ahead. adui
West of Zanzibar rank, u-i ; technicoli
V''/ Recalling the’ popular “Ivory Hun
er,” this new British film again sets a
tractive Anthony Steel against authenti
African locales. However, its story lacl
the conviction of the earlier picture; it
just a straggling thriller, with bursts <
vigorous action and picturesque glimpse
of the people and scenery of East Afric;
Steel and his wife (Sheila Sim) are ii
terested in the plight of a tribe lured froi
its farms to work for an ivory-smugglin
gang. Misled by their desire for mone-
some of the young men land in jail. Ste<
decides that the only way to save tli
tribe is to break up the gang, even at th
risk of his life. famu
28
BY ERSKINE JOHNSON*
LAUGH l-VO
STOCK
The Gabor Sisters — Zsa Zsa, Eva and
Magda — confessed it during their Las
Vegas night-club act:
“Our mother told us that we should have
the skin men love to touch — mink!”
Someone commented on the low cut oi
Kathryn Grayson’s gowns for her Hotel
Sahara warbling date in Las Vegas.
“They’re not low-cut,” insisted Kathryn,
“I’m just built high.”
An Irma-brained starlet, hearing that
Warners will produce “Lewis And Clark”
in Cinerama, said it:
“Gosh, it’s like they said. Jerry Lewis is
getting a new partner.”
It happened in a Hollywood eatery when
Jack Webb dropped in for dinner with
Dorothy Towne.
A waitress carting shrimp a la newburg
to an adjoining table spilled some of the
rich liquid on Webb’s coat.
“Oh, well,” she muttered in a Dragnet
voice. “It figured. Fish on Friday.”
During filming of “Mogambo” in Africa,
it’s being told, Clark Gable, Ava Gardner
and members of the M-G-M troupe had a
big party one night, with much dancing,
singing and bubble water. The sounds of
the revelry reached the ears of an African
native who turned to a fellow savage,
jangled his nose ring nervously, and whis-
pered :
“The whites are restless tonight.”
Steve Rowland saw Terry Moore in a
high neckline gown and said:
“It was as frustrating as it used to be
looking at 3-D without Polaroid glasses.”
A Hollywood agent was trying to sell a
fading glamour queen to a producer lor a
role in a new film. “She’s just as pretty
now as she was twenty years ago,” the agent
argued. “Except now it takes her a half-
hour longer to get to look that way.”
Director Donald Weiss said it to Elaine
Stewart :
“Look wide-eyed, honey. This is Cinema-
Scope.”
A Hollywood night-club master of cere-
monies hushed an inebriated doll using pro-
fanity, with:
“I would appreciate your being quiet.
There are gentlemen present.”
James Whitmore told about his cook, ,.n
exponent of modern hep talk, setting a
cheese-baited trap for a marauding mouse.
The mouse got the cheese but eluded the
trap. Said the cook to Whitmore:
“That mouse is a real cat.”
Overheard at the Moeamho :
“She’s just an old-fashioned girl. She has
ten of them before dinner every night.”
Jack Carson Hipped it after dinin in a
swank Hawaiian restaurant in Beverly
Hills:
“It would have been cheaper to go to
Hawaii.”
*See Ersklne Johnson’s "Hollywood Reel "
on your local TV station
natch vo ii i' skin thrive on
Cashmere Bouquet Soap!
o-Cte . 1
cortov w scH° upovj can
“0urco^pe ot comp**'0"
Joan Fetherston, lovely young
dancer and TV actress, says:
“It’s such wholesome beauty care
for my dry skin ! I never knew7
any soap could do so much so
gently until Candy taught me to
beauty-wash twice every day with
mild Cashmere Bouquet. 1 just
cream that fluffy, fragrant lather
over my face with my fingertips.
It leaves my skin looking wonder-
ful — smoother, softer, with a
lovely, fresh glow!”
Complexion and big bath sizes
1/ V “Scatter a few cakes of
• * "O* CashmereBouquetthrough
your lingerie and handkerchief drawers.
Leavesa lovely, flowery fragrance, much
more subtle than sachet!”
29
Only New Design Modess gives you the luxury of a new
whisper-soft fabric covering ... no gauze ... no chafe.
Her wiles ensnare Joe Champ Husky*s rich, famous
But Carmen and Joe are infatuated
• Applause rang loud when 20th’s startling production “Carmen
Jones” opened in several big cities. Now it’s being shown all over
the nation, and Photoplay urges you to help yourself to this
rare entertainment treat. Here’s a movie exploding with vitality,
music, talent and personality. Dorothy Dandridge (Carmen),
Harry Belafonte (Joe) and Pearl Bailey (Frankie) have all achieved
imposing reputations as night-club stars. Dorothy and Harry
also co-starred in a much respected film, “Bright Road.” Youthful
Olga James (Cindy Lou) begins a promising career in classical
music with this picture. And Joe Adams (Husky) has delighted
radio audiences from coast to coast. You’ll welcome “Carmen
Jones” as an exhilarating, utterly different kind of musical drama.
The lovers meet for the la6t time
Lori is in "Destry”
When her gang descends on her for bar-
becues and charades, Lori Nelson is a
smarty-pants — in tweed pedal pushers
Janet's next is "My Sister Eileen”
Janet Leigh’s satin lounging pants are
smooth. So’s her game. Janet and hus-
band Tony Curtis are avid word-game fans
Cyd is in “Deep in My Heart"
Houseguests of the Tony Martins will be
greeted by this vision when he and Cyd
Charisse move into their new dream home
Liz is in "The Last Time X Saw Paris'
Barbara’s next is "Captain Lightfoot'
Arlene is In "Bengal Brigade'
// Liz Taylor gets her wish, that new
baby will be called Virginia. Liz’s pol-
ka dot pants are surprise gift from Mike
Arlene Dahl believes women should dress
to please men — and what man wouldn’t ap-
preciate this lounging lady’s ensemble!
Barbara Rush makes the most of a brief
spell between movies to make a charming
picture of a star at her ease, at home
INSIDE STUFF
Cal York’s Gossip of Hollywood
Lounging Ladies: Michael Wilding
loves to tote home surprise packages
to Elizabeth Taylor, which is why he
selected green and white polka dot
pedal pushers for her at Don Loper’s
fashion salon. Lovely Liz is hoping
for a girl who’ll be christened Vir-
ginia— her favorite childhood name.
If the new baby’s a boy, however, the
Wildings will call him Christopher
. . . Janet Leigh and Tony Curtis love
to haunt public auctions by day, but
they’re stay-at-home Scrabble hounds
by night with Janet dressing for the
occasion. Her favorite: satin lounging
pants. Their new headquarters in
Coldwater Canyon, incidentally, isn’t
their own as reported. Despite a swim-
ming pool, tennis court and combina-
tion built-in hi-fi, tv and tape-record-
ing set, they’re still searching for the
perfect place to buy.
But Cyd Charisse and Tony Martin,
who are building the perfect place,
had to move three times while wait-
ing. Their rented houses were sold
right out from under them! Favorite
future at-home outfit for Cyd is
Loper-designed “union suit” of black
all-in-one jersey, worn with yellow
felt cape skirt . . . Believing that
women should dress to please men,
triple-threat business woman Arlene
Dahl dresses to please Fernando
Lamas. Natch! Designer Ben King’s
black chiffon negligee skirt over
matching lounging pants solve the
situation! . . . Since separating from
Jeff Hunter, sloe-eyed Barbara Rush
dresses to please herself and black
velvet toreador pants play a promi-
nent part in her personal wardrobe . . .
Lori Nelson who doesn’t want to go
steady with anyone, may look like the
fragile, feminine type. But she’s the
tweedy type at heart, which is why
she wears tweed pedal pushers when
her gang {Continued on page 80)
Lounging outfits worn by Janet Leigh, Cyd Charisse, Liz Taylor, Lori Nelson are designed
by Don Loper. Arlene Dahl's ensemble by Ben King for I. Magnin. Lori’s shoes by Catalano
SPEAKING OF ANGELS...
THERE’S A GIRL CALLEC
VIRGINIA
Sarah Young is in charge of baby —
until Mom comes home , takes over!
• A few weeks ago Virginia Mayo O’Shea waltzed into the living
room holding up an exquisite red dress for my inspection. “How
do you like my new Scarlett O’Shea dress?” she cried happily.
“I’m going to wear it to the party tonight — if Mike will go.”
After we discussed the beauty of the dress, Virginia went
to her bedroom to rummage through her jewelry for accessories.
I wandered nonchalantly into Mike’s study and watched him
working on his script. Finally I said, “Mike, when you see your
ever lovin’ in the divine dress she brought home, you’ll really
want to go to the party tonight.” Mike looked up at me and
roared, “I’m not going to a formal fling or cocktail party. We
don’t drink and we don’t gossip. Why go? I’m not going!”
While Mike ignored the obvious signs of party preparations,
Lucy, the housekeeper, pressed the red dress. I brought Mike his
favorite milk shake and Virginia continued getting ready.
When Mike entered the living room, I turned on the television
and said, “Wait until you see your wife, man. She’s beautiful
in that dress.” ( Continued on page 78)
Ginny, with the author— the O’Sheas’
Girl Friday, baby sitter and friend
The O’Sheas find no need to impress
anyone, do the things they want to do
When Dad roars, he isn’t fooling either
of his two girls. They know their Mike!
34
I
Virginia Mayo is in “The Silver Chalice”
Undemonstrative — but Ginny's quiet
pride in Mary Catherine is obvious
Fudge for dessert and
popcorn at the movies
may not sound
like a heavenly dish —
but that’s life,
at the O’Sheas’ !
BY
DOROTHY JEFFERS
Many times I have been accused of being too strict
with Pier. Many times I asked myself if this were true.
But on her wedding day, I knew . . .
or Marriage
i Angeli is in “The Silver Chalice “
“ Pier ” ( here with her twin Marisa ) “has learned to share ”
MRS. INRICA
PIERANGELI
“For all us Pierangelis, Hollywood has been an education”
M .
ceremony at St. Timothy’s Catholic Church in Westwood on November 24.
The service was beautiful. And despite the fact that three hundred of our
friends were present, I could not help crying a little when I saw Pier,
looking so lovely in her wedding gown of lace and chiffon, walk up the
aisle on the arm of our old friend Edward J. Mannix, who gave her away.
Like any mother, I cried a little because it is sad to lose a daughter, but
I cried a little more because I was happy and proud of my Anna Marie.
Many times since I came to Hollywood I have been accused of being
too strict with Pier, but I think to understand my attitude you must take
into consideration not only Pier’s background and European upbringing,
but also some of the unusual problems she faced.
Pier had just turned eighteen when my husband passed away. Aside
from the grief for all of us Pierangelis, I was confronted with the difficult
task of taking over the full responsibility of bringing up my three daugh-
ters. In a way, Pier was my biggest problem. ( Continued on page 72)
BY MAXINE ARNOLD
Dale spends anxious hours thinking
about his daughter's future, making
plans for her. "As long as she's a
growing girl, I'll never be far away
from her," says Dale, who has rented
a house so Rochelle can stay with him
whenever her mother is out of town
• In the still of night a small child’s voice cries out.
Suddenly awake and startled, “Mama!” she calls.
“Dadda?” Her father gathers her close and soothes
her to sleep again. But on through the darkness, a
cigarette glows and the night is crowded with all that
might have been. Thoughts march across the
memory and a man, Dale Robertson, weighs them
against a child’s cry.
Dale’s daughter, Rochelle, will never lack for love.
When her mother isn’t with her, her father will
be there. She will always have them both.
But what happened to those two whose whirlwind
romance swept Hollywood off its heady feet? Two
strangers who fell in love at first sight across a
crowded room, who were engaged five days later and
married five short weeks after they met. The two who
pledged their troth before a candlelit window, high
on a hill, with all Hollywood a magic glittering
carpet at their feet, who toasted so confidently the
years ahead that would be . . . The years that
now will not be.
When does marriage end and divorce really begin?
When do dreams and hopes dissolve — into mental
cruelty! They’d been to Oklahoma, but things seemed
about the norm. They’d just finished carpeting the
house. Jacqueline had picked (Continued on page 93)
38
”1 want a divorce..
Four words spoken for the last time
to Dale Robertson — spelling the end
of a storybook romance that could not
survive the realities of life
Just what
ordered
To be wife, mother
and actress successfully
might cause complications
in any other woman’s life.
But not Ann’s. Dr. Jim
is her heart specialist!
BY DAN SENSENEY
• One evening a few months ago,
Dr. James McNulty, whose business
is babies, excitedly called to his
wife, “Ann! Come quick!” Re-
sponding, Mrs. McNulty found the
doctor bending over their son.
“Look!” said Dr. McNulty in
wonder. “Look at the way he’s got
his fists doubled up. This boy’s go-
ing to be a boxer!”
Mrs. McNulty started to say, “I
hope not.” But then she stopped,
recognized that she was a little
upset. She bit her tongue and
smiled gently. “I wouldn’t be sur-
prised,” she answered. It was then
that Dr. McNulty looked up from
his magnificent six-week-old son
and caught the frown on Ann’s
face.
“Is something the matter?” he
asked gently. “Can I help?”
Suddenly with Jim’s kindness,
his deep concern, Ann could no
longer control her tears. She
started to cry. It was all Dr.
Jim’s and Timothy Patrick’s fault
she felt like this. They had ganged
up on her when she wasn’t aware
and made it impossible for her to
go along with her plans — despite |
the contract and the promises.
Just a short time ago, the decision
would have been easy. Now it
seemed impossible. For during the
past year, two men had entered
her life — one helpless and lovable,
the other, strong and loving. They
had captured her love and run
away with her heart and Ann had
become ( Continued on page 97)
40
Ann Blyth, next in “ The King's Thiel"
After six years with Rory, Lita’s
an expert on exact price of beef!
At 14, Rory decided hunting with a
rifle was dull — switched to archery
Mention something and you'll find
Rory has it. The guy's a Brain!
THAT CRACKERJACK-
OF-ALL-TRADES
CALHOUN
The inventive type, one of his ideas
is proving to be a boon to ranchers
• The postal clerk at the little town of Ojai
looked up in surprise at the tall, handsome,
dark-haired young man with prematurely
grey temples. “You sure you know what
you’re doin’, young fella?”
Rory Calhoun’s voice left no doubt. “Posi-
tively!”
“But this letter you want me to register —
it’s addressed to yourself.”
“I just wanted to make certain . . .”
He didn’t tell him certain of what, or he
might have given away a secret that had to
be protected at least till it was securely regis-
tered with the United States Patent Office. By
the cancelled postmark on the unopened let-
ter, Rory could prove, if necessary, just when
he first had the idea. You see, in addition to
being an actor, rancher, saloon keeper.
builder and jack-of-all-trades, Rory is also
an inventor of some repute. You’ll be even
more surprised about some of the things
Rory has invented!
The contents of this particular package
dated back to a camping trip a few weeks
earlier, when Rory got up at sunrise to fix
breakfast while his pretty wife Lita was still
curled up in a sleeping bag, hoping to get in
a few more winks before an unquestionably
exhausting day of hiking and fishing began.
Her sleep was soon interrupted, not only
by the hickory aroma of coffee boiling over
a crackling fire, but also by Rory’s dis-
gusted, not exactly drawing-room-type out-
burst about the eggs he had fried.
Sleepily she stuck her head out from un-
derneath her warm, (Continued on page 99)
BY PEER OPPENHEIMER
42
Recently, rancher Rory went into the
restaurant business — now owns three
Rory has writing ambitions, has al-
ready sold original story to movies
A businessman, Rory’s movie con-
tracts are the envy of other actors
Rory Calhoun Is next in
"The Looters”
43
7
Bike is gag gift from studio. Six years
of modeling, stage, tv led to Hollywood
Mother’s training taught Grace not to
be discouraged by criticism and failure
Grace Kelly Is In “The Country Girl” and
“The Bridges at Toko-Rl”
BY
MARTIN COHEN
Of modeling days, she says, “I learned
to stay on my feet until my head hurt!”
Hair-do for “Catch a Thief.” “ The breaks
didn’t come before I was ready for them”
Forget all the blarney about
Kelly being an overnight sensation.
She was, in her own words,
a glutton for punishment. And
punishment is what she got!
• “I’ve never been depressed by my work. I love it. If
it became a chore, I’d give it up,” says Grace Kelly.
“I’ve had a couple of parts I didn’t like. I was bored and
miserable. I couldn’t work up any sympathy for the
characters. If I had to do much of that I’d stop cold. The
day I find acting is no longer fun and exciting, I’ll quit.”
The lady says what she thinks. She is shy but never
scared. If she has something to say, she says if. If she
has nothing to say, she is a phenomenon — she says
nothing. Physically speaking, she is well modulated with
a figure that neither screams with exaggeration nor
retreats in a whisper. She is lithe and tall with a remark-
able face that produces the fragile smile of a Mona Lisa
or the grin of a child looking ( Continued on page 81)
It’s “Cinderella”
set to music, with Leslie Caron’s
special brand of magic
This enchanting musical romance gives Leslie
Caron the perfect follow-up to the beloved
“Lili.” Once more, there’s a fairy-tale atmosphere
without any actual flights into fantasy. Once more
Leslie is the shy and shabby young girl who
blossoms into a charmer. "The Glass Slipper" is
When prince Michael Wilding meets Leslie by chance,
he tells her he's a palace cook. And she dreams that
she is his dancing sweetheart, in a fabulous kitchen
The grubby, cinder-streaked little kitchen maid is trans-
formed!— ready to don a ball gown and glass slippers,
given to her by a mysterious, eccentric old lady
the Cinderella story told with music and with no
magic spells. In a tiny mythical country of 18th
century Europe, Leslie's a slavey in her step-
family’s household; Michael Wilding’s a debonair
prince. With beautiful sets and costumes, M-G-M
makes the love story a feast for eyes and ears.
A pirouetting doll, Leslie's joined in two of her dances by
Roland Petit's Ballets de Paris. She starred with this
troupe in a national theatre tour before filming began
As poor Cinderella, Leslie is harshly treated by step-
mother Elsa Lanchester and stepsisters Lurene Tuttle,
Lisa Daniels and Amanda Blake, luxuriously dressed
Dazzling in her suddenly acquired finery, she creates a
sensation at the palace, even dances with the duke
(Barry Jones), the realm's ruler, her beloved's father
But there’s more trouble ahead— -the midnight escape
from the palace — before Leslie and her prince reach
the famous happy ending, together “forever after"
Good catch: Doris’ moth-
er and son went with them
on Alisal Ranch vacation
If you like
what you love
You’re
in Luck
Beneath the kidding and
banter, genuine trust,
friendship and affection
Congenial, Doris and
Marty obviously enjoy
each other’s company
By ERNST JACOBI
M
Ifluch has been written about Doris Day’s
charm, her brightness, her radiance. There
is nothing to question. It’s really there: the
shiny blond hair, the clean looks, the sparkling
blue eyes and, of course, the smile — a terrific
smile, wide, warm, utterly disarming.
The place on the Warner Brothers lot where
the stars and the executives eat lunch is called
the Green Room. It looked pretty drab until
the moment Miss Day, followed by Marty
Melcher, came through the door. She bright-
ened the whole room. There’s an electric qual-
ity about this girl. She gives off sparks. You
know, when you meet someone like Doris Day,
that you’re meeting a personality; that you’re
in the presence of a star. But a comfortable,
down-to-earth sort of star.
“I’m hungry,” Miss Day said, sitting down
and looking over the menu. Miss Day has a
reputation for being hungry. “I think I’ll have
the steak.”
“Me, too. And I’m having French fries with
it,” Marty announced belligerently. “I did
twenty laps in the pool this morning. I’m trying
to take off a few pounds and it’s murder!”
Marty — Marty Melcher — is Doris’ husband.
He’s also her agent, business partner and some-
time boss when he’s producing one of her pictures.
He’s also known to be her tower of strength.
What was the secret of their success in mar-
riage? I asked.
“It’s very simple,” Marty answered. “Half
the time I let Doris have her way; the rest
of the time I give in.”
“Don’t let him kid you,” Doris bristled good-
naturedly. “Between my two men at home I
don’t stand a chance. They gang up on me and
lead me around ( Continued on page 103)
BY
TONY CURTIS
I’m, letling you in
on a secret. But don’t
keep it to yourself.
1 want this
one spread around!
Real cool, on the saxophone —
now he’s taken to a clarinet!
Frank W estmore gets expert
advice — T ony’s a shutter-bug
Carpentering skill led to mak-
ing model boats, a phonograph
Expert Tomei taught him race
car driving for “ Johnny Dark”
Painting lessons in school led
to absorbing spare-time hobby
Tony Curtis is next In
“So This Is Paris"
with it, kids!
I know a secret. At least, that’s what I was told only a few months ago.
Well, to be perfectly honest, I overheard it.
When I came home from the studio one day, Janet was giving an
interview. “Tony knows the secret of enjoying life to the fullest extent,”
she was saying. “He has a sure-fire cure for boredom, depression,
loneliness — almost any blue mood that happens to strike a person.”
“Who me?” I said to myself.
Then Janet saw me standing in the living room doorway. The girl is not
only adept at Houdini-type magic, she’s also pretty good at mental
telepathy. “Yes, you,” she grinned.
It’s funny, but until then I hadn’t really stopped to think about it. Since
then, I have — pretty thoroughly. And I’ve found that it’s taken me years
to learn the secret of enjoying life to the fullest. Most of the time, I
acquired the knowledge unconsciously. As time ( Continued on page 85)
I
1
KIRK’S ISLAND
OF SAFETY
It will not be found on any maps? but it is as real as Kirk’s
"A man needs marriage. An actor, even
more — the island of safety only to be
found in a solid human relationship”
“Stimulating, gay as champagne, but
soothing, too,” Kirk says of Anne.
They met when he made film in Paris
BY ELIZABETH BALL
Two years ago, on a warm sunny afternoon in
Paris, Kirk Douglas was introduced to a petite
French woman, who his friend director Anatole Lit-
vak said, was just as brilliant as she was charming.
She spoke four languages fluently, had an indefati-
gable supply of energy, a quick, sharp mind and a
fine sense of humor. She was just the person Kirk
needed to handle his French papers while in Paris
making “Act of Love.” When Anne Buydens agreed
to take care of the actor’s work, the director arranged
the meeting that afternoon.
“There was no romance involved,” Kirk says to-
day. “Not in the beginning. Anne helped me with
my business problems. She was stimulating, gay,
soothing. Having worked on pictures with picture
people, she knew about actors. From the beginning,
we had a perfectly good understanding of each other’s
good points and bad ones and an acceptance of each
other’s qualities. I appreciated having her as a
friend.”
Anne lived and worked in Paris where she co-
ordinated languages in ( Continued on page 89)
52
With Anne, Kirk has forgotten the
loneliness that made him a rolling
stone — whirling aimlessly through life
ww- found peace and happiness . . .
Kirk Douglas is in
Walt Disney’s
“20,000 Leagues
Under the Sea”
and 20th’s
“The Racers”
Today, Kirk is calmer about
his career, no longer attacks
life in his old fighting mood
Anne is interested in Kirk's
work — but she is much more in-
terested in his peace of mind
1
Elizabeth Taylor is in "The Last Time I Saw Paris"
BY FAITH SERVICE
• If you had been cruising in your car on the hilltops
near Beverly Hills one midnight last Spring, you would
have been in for an eerie experience. From a lone ranch
house nuzzling the stars on top of the highest hill you
would have heard eerie strains of music. There’s nothing
strange about music coming from a house at any hour of
the day or night when there are people living in it! But
this house was obviously empty. It was dark, the windows
were opened but curtainless. No one could be living there.
Yet music played.
If your curiosity was strong enough to conquer
your gooseflesh you might have ventured nearer to the
house. Glancing through the open windows you would
have seen hand in hand, the motionless figures of a girl
and a man seated on the living room floor.
Creeping still closer you would have recognized the
bodies as belonging to Elizabeth ( Continued on page 76)
Says Mike, “Temperamentally, we're alike— both lazy. We hang
onto things, too — -old letters, clothes. W e love to travel but
we always seem to have a new house to buy or a baby coming!”
\
WON DE R FU L
She forgets to order dinner, hangs her things
up on the floor. But it’s the other things she does
that makes Mike so mad — about Liz Taylor!
55
Cupid shot an arrow
into the air.
It landed — pretty nearly
everywhere!
On
Debbie Reynolds was kidding — but her heart wasn’t, about Eddie
BY SHEfLAH GRAHAM
• Love is simply busting out all over . . . and over
. . . and over. . . .
Debbie’s heart went to Eddie Fisher way back
last July but her hand will not be his until this
June when these two plan- to be married. Her dark-
haired friend Pier Angeli, in the meantime, has tied
the knot with Vic Damone and her cute blond
friend Jane Powell has already returned from her
European honeymoon with husband Pat Nerney.
The last time these three girls were together was
the day that Esme Chandlee, Helen Rose and Ann
Strauss gave a bridal shower for the immediately-
to-be-brides Pier and Jane. When I think back,
I feel that Cupid must have the good grace to blush
when he sees how nearly he came to missing his
mark. . . .
Debbie Reynolds was rehearsing. Her hair was
in curlers because she was going to a premiere that
night. She frowned when she saw Johnny Grant and
jf
Continued
■
I
.
Pat and Jane on their wedding day. If Pat had phoned
a week earlier, Cupid would have missed his mark
Champagne and a dime in the juke box were all love
needed to start Pier and Vic on that wedding march
Debbie and Eddie Fisher at engagement party given
by Eddie Cantor. Sheilah slipped the cue to Cupid
57
shook her head when he pointed to the slender, dark,
curly-haired young man with him. Didn’t he know she
was dancing against time? And for him to bring a
stranger on the set and with her hair such a mess! But
she nodded politely when Johnny brought his friend
over. “You renjember him, you met him four years
ago when we entertained at the Walter Reed Hospital
in Washington — Eddie Fisher.” Ah, now she remem-
bered. He was a GI then. He’d said, “Hello, Miss Rey-
nolds.” She’d said, “How d’ye do.” Now he was grin-
ning, and she smiled back. But she was late. “Bye,” she
said, and started running. “Will you be my date for my
opening at the Cocoanut Grove?” Eddie was to ask
over the telephone weeks later. “Okay.” Debbie had
answered in her candid fashion.
I wonder if Debbie knows that I was partly respon-
sible for her big romance with Eddie. It happened just
around Valentine’s Day last year. Young Mr. Fisher was
in the doghouse with Mamie Van Doren and the local
photographers here. Eddie and Mamie, whom he knew
only slightly, were supping at the Mocambo, and the
lensmen swooped down to take photos. Suddenly, Eddie
dashed from the fancy night club as though twenty
devils were on his tail. I read Miss Van Doren’s state-
ment the next day. Boy, was she insulted! No man had
ever run out on her before, and who did he think he
was, etc., etc.
So I called Eddie to find out “wha’ hoppened.” He
wasn’t sure except that he didn’t want his picture taken
in a night club with a girl he hardly knew. “I’m lonely
in this town,” surprisingly confessed the famous singer.
“I’d like to meet more people. D’ye know anyone?”
“Debbie Reynolds,” I suggested, and Eddie jumped five
feet in the air. “D’ye think she’d go out with me?” he
asked. “Call her and find out,” said I. Eddie went one
better. He recalled the brief meeting in Washington,
contacted Johnny Grant who took him to the set — and
that was the beginning of their love story, and another
notch in the arrow of the little guy who’s been working
overtime in our neck of the woods. But if Debbie hadn’t
visited the Walter Reed Hospital, and I hadn’t inter-
viewed Eddie — makes you wonder, doesn’t it?
And I wonder whether Marlon Brando would have
met his love — if he hadn’t rejected the script of “The
Egyptian?” He found Josanne Berenger in the office of
his New York psychiatrist, after his mysterious dash
from Hollywood. The nineteen-year-old French brunette
— “The only girl I ever wanted ( Continued on page 88)
Clark Gable's elusive — but Kay Spreckels has the wit to catch him
If Brando hadn't kept that appointment, he'd have missed Josann
j -rJ
i iJtlp U
58
Cupid played waiting game, finally caught up with Mitzi, Jack Bean
Hawaiian leis became bridal wreaths for John Wayne, Pilar Palette
Eleanor Parker loves her Clemens portraits — he loves the original
Vera-Ellen took up tennis, now she and Vic Rothschild ore love match Romance stole the Sportsmen's Show for Guy Madison, Sheila Connolly
After five years and a
full house , James Stewart,
Esquire, has blissfully
forgotten the character
who once lived alone
and thought he liked it!
..
buddies were having Saturday night dinner together. Jimmy
and Gloria Stewart were among the guests, so inevitably the con-
versation turned to Princeton’s grid victory of that afternoon.
“I get excited enough about the games now,” Jimmy de-
clared, “but when my two boys are in college, I guess I’ll have
to figure a way to work in the East during the fall.”
Someone said with a straight face, “I thought your two
youngsters were girls.”
Falling for the rib, Jimmy explained, “The two youngest are
girls, but my two oldest are both boys.” Then, gradually, a grin
began to spread. “Our two oldest,” he amended, and across
the table he met Gloria’s warm smile.
No more eloquent incident could be cited to indicate the
close-knit happiness of the clan Stewart, because the two boys
mentioned are Ronald and Michael, ( Continued on page 101)
Marriage becomes him like his favorite
tweeds. Belo, the family's German Shep-
herd dog, has been with Gloria ten years
Squire Stewart finds fatherhood a com-
fortable and preoccupying condition. Be-
low, with wife Gloria, stepsons Michael
and Ronald, twin daughters Kelly, Judy
Jimmy Stewart is in “The Far Country" and " Strategic Air Command"
61
Unlike Hollywood stars, most of ui
being mere mortals, have specia
clothes problems. Some of us are to
thin or too fat; others too tall or to
short. The complexion is only so-sc
As for clothes-sense, we’re ready t
admit that we’re not too clever am
can be easily led astray by a quid
whim or a special sale. On top of this
to make matters worse, the budget i
definitely restrictive. No wonder w
/
Above, two ideal outfits for a
tall willowy figure. Grace Kelly
wears a sheer with sleeveless top
offset by wide skirt. Right, the
long loose boxy jacket suit
needs tall figure, could smother
lines of a short girl. Grace next
in Paramount’ s “Country Girl”
Petite, but long-legged, Jane
Powell looks best in dress high-
lighted by cinching belt. Jane’s
appearing in “Athena,” M-G-M
■ •' V'f ih
2'M ii
HOLLYWOOI
BY
GLADYS
HALL
For the soft curvy figure, Jane
Leigh wisely wears for daytime t
trim covered-up dress for th
well-groomed look. Janet’s nex
in “My Sister Eileen,” Columbi
62
If you think it takes a million-dollar budget
and a million -dollar figure to look like a
million dollars, relax . . . It ain’t necessarily so!
IAS DESIGNS ON YOU
ok somewhat less glamorous than
e glamour girls of Hollywood.
A pretty depressing situation, you’ve
*t to admit, no matter what your par-
ular problem is. But just suppose
>u could take your problems to a
ollywood designer. That’s what we
d. We went to four leading design-
8 and here are the suggestions they
ade for you.
Too fat : While you’re reducing, get
yourself a basic black with bright ac-
cessories—don’t cut your figure in half
with a startling belt, have a self belt
made of your dress material if neces-
sary. Wear white around the face (or,
if you prefer, some other bright basic
color). Walk tall, carrying yourself
straight and by all means watch your
calories.
Too thin: Use the trick jackets,
overshirts which girls like Audrey
continued
• ; o ° )
G 'i '.A
/ r
Drawings by Andy Warhol
Anne Francis glorifies her
statuesque figure with slim suit.
Line is softened by U-shaped
neckline and folds — appropriate
for her height. Anne’s in “Bad
Day at Black Rock,” M-G-M
Angular and boyishly beautiful,
Audrey Hepburn wears well the
ultra-feminine evening gown and
tailored sports outfits shown.
Soft lines of skirt and flare of
sports jacket soften outline. She’s
now in “Sabrina” for Paramount
-ir
1 1 1
HOLLYWOOD HAS
ON YOU continued
Turtle-necked blouse complements
dotted skirt, with waist accented
by a handsome leather cinch belt
Vera-Ellen’s perfectly proportioned
figure is best in the snug tops, well-
defined waistlines and full flared
skirts shown in all three costumes.
Left, she wears simple fitted coat,
with extra flair in upturned collar.
Vera’s playing in “White Christmas”
DESIGNS
Hepburn adapt. Broaden shoulders and
bust lines with full shoulder width and
full blouse effect. Wear cowl necklines
such as Anne Francis uses to give her
that feminine allure. And slim skirt or
full, keep the hemline in proportion to
your figure.
Too short: Uninterrupted lines help
the illusion that you’re bigger than doll
size. Wide belts are taboo, a narrow one
is for you. If you’re less than average
height and full bosomed, the basic dress
is your best friend. A short waistline, a
long skirt line and you’ve increased your
height by inches.
Too tall: A long jacket line on suits,
as exemplified by Grace Kelly, looks
dreamy on the tall girl (and isn’t she
lucky she can wear it ! ) . Big hats, long
gloves, print dresses, full skirts — every-
thing that rounds out the figure to good
proportion is for you.
And what is a basic wardrobe suita-
ble, with slight modifications, for any
figure?
We stopped by to see Edith Head,
who not only designs movie clothes for
Paramount stars Audrey Hepburn and
Grace Kelly, but also designs all of her
own, and therefore understands the
problem of budgets. Miss Head is a
strong exponent of the “planned ward-
robe.”
“Last spring I toured all over Europe
with only one suitcase,” she admitted.
Since the contents of this suitcase served
me so well on every , occasion from
morning to midnight, I can personally
guarantee that it will be just as smart
ten years from now as it is this fashion
season and recommend it to most gals.
“The basic costume was a two-piece
flannel dressmaker suit (you might pre-
fer beige flannel which is just as good-
looking). The jacket was buttoned all
the way up and ( Continued on page 105)
To dress up or down, the smart new
overblouse (belted) and a flared
skirt with petticoat for extra zip
64
’HOTOPLAY SfI\R
EMODEL YOUR
ASHION OUTLOOK
vely Gloria De Haven fixes her fashion sights
bright new accessory accents. A perfect back-
op, her springweight cotton suit features a
uck and white striped box jacket underscored
th white linen, slim black skirt. Sizes 5-15.
Jaunty Juniors. About $35. Town Umbrella’s
imponed shaft of multi-color stripes. Under $10
Luxurious, fluffy white fox collar frames and
itters your face. Fleischer Furs. About $25*
Glamour at your feet: Brilliant pump, white
rolls on black shantung. Deb Towners. $9.95
Bold, beautiful accent: five strands of light
owy bubble "pearls." By Marvella. $12.50*
All-day chic in the soft honey calf Toro pump,
jiiite crushed kid trim. Enna Jetticks. $10.95
Arm's-length of white Doette cotton evening
oves, scalloped, pearly buttoned. Fownes. $5
Diamonds make news in a harlequin pouch bag
ixing raspberry, green, white. Lennox. $14.95*
Treat your partying waist to white capeskin
th black and silvery tinsel. Charm Belts. $5
Samsonite's trim blue train case, sturdy vinyl
astic. Mirrored top, divided inner tray. $17.50*
us Federal lax for Where to Buy see page 84
sri a DeHaven's skin-lone
citings by Bur-Mil Cameo
he ladder to style success
> star-studded with new,
pring-tresh accessories
smsuxi
E Walk smartly in black "patent"
pumps with Louis heel, white wing
trimmed toe. ByGrace Walker.$6.95
F To tuck in a belt or neckline,
large pink velvety roses. What's
more feminine? Aster Flower. Each, $ I
G Trim white gloves, stopping at
the wrist, in double-woven nylon,
yellow stitching. By Dawnelle. $2
H Just plain fun: beige linen shell
pump embroidered with colored
coin dots. Lucky Stride. $10.95
For
Where to Buy
see page 84
These are the scene-stealing accents
that brighten up your fashion life
as does the spanking fresh paint of
a newly decorated room. Beautiful
Diana Adams selected these as
sparks for her sailor collar suit that
features all that's news in fashion.
In a soft pale blue blend of wool
and mink hair, it has a double-
breasted slim box jacket topping
the shaft skirt. Bonus is a bow-neck
printed shantung blouse and match-
ing jacket lining. Gold bullion
trims the back collar. Sizes 9-15
in delectable pastels. By Judy Nell.
Under $40. Her oversized satchel,
the "Safari” bag, a good traveler
in saddle-stitched cowhide. By Loyal.
$18.95*. Straw pillbox by Betmar
I Short black cardigan, allover
"pearl" studded, yummy as its pine-
apple stitch. Sidney Gould. $14.95
i Bright fillip for a spring suit,
three pink carnations on a single
stem. By Flower Modes. About $2
K Coronet's elegant deep red calf
vagabond satchel with outside
pocket in trapunto design. $18.50*
L Sheer news for spring: pale, pale
stockings. These, in a tasty creamy
wheat shade. By ' Phoenix, $1.65
M Velvet Step's Jewel sling-back
shoe, wing detail on the vamp —
in the prettiest aqua shade. $9.95
A Mustardy gold silk scarf is pep-
pered with big black and white
polka-dotted squares. By Glentex.$2
N Big, Lucite beads in red, black
and white, tiny golden dots between.
H. & S. Originals. Each, about $2
B Olden bucket glamorized in shiny
"patent," ebony handled, candy
striped cotton-1 ined. I ngber.$ 10.95*
O Pull in your waist with orange ice
saddle leather. Contour belt with
pilgrim's buckle. Charm Belts. $3
C New kind of dash: contoured,
black plastic patent belt, rhine-
stone studded. Schaffer. About $3
P Spots before your eyes? Couldn't
be gayer than these in Technicolor
on a white cotton glove. Aris. $3.95
D For good luck, golden link brace-
let adangle with four-leaf clovers
on a shiny heart. By Ciner. $3.95*
Q Arabian Nights translated in a
gold-touched oriental print bag with
bamboo handle. By MM. $12.95*
R Generous bunch of snow white
violets to breathe new life into any
suit. By Flower Modes. About $2
S Beloved red skimmer moccasin
in flexible glove leather. The flower
trim is news. By Huskies. $4.99
T Sea horses are clearly etched on
this silk square in red, white and
black. Great chic for $3. Glentex
U Tote-all bag in lustrous red calf
that loves a spit 'n' polish. Golden
double bracelet handle. Jana. $15*
REMODEL YOUR FASHIOI
'plus tax
PHOTOPLAY
r
OUTLOOK
continued
STAR
FASHIONS
Diana Adams , star of the New York City Ballet Co., is
featured in M-G-M's " Invitation to the Dance'
PHOTOPLAY
ST^R
FASHIONS
REMODEL YOUI
G/<
Gloria's now starring and singing
in U l's "So This Is Paris' '
For Where to Buy see page 84
Like musical star Gloria De Haven, take a
mid-year refresher course in accessories — the
best stage tricks we know for a change-about
look. Gloria loves her slim molded sheath
in navy silk and worsted, with V-line but-
toned front, dotted silk artist's tie. 7-15.
By Jerry Greenwald. $35. Hat by Betmar
*p/us tax
A Jana's small and shapely satchel in bright
plastic patent, golden padlock trim. $7.95*
B The Newport pump in black "patent," slim
heel, white tipped ties. Naturalizer. $10.95
C There's triple fashion in a triple-tie silk
scarf scattered with dots. Baar & Beards. $1
D In the fashion eye: shining ropes of golden
baubles. Non-tarnishable. By Sperry. Each, $2*
E Cotton satin boy shirt, ice cream stripes
marking its feminine gender. Macshore. $4.95
F For a sleek middle ground, "patent" contour
belt, nickel harness buckle. By Charm. $2.50
G Diamond cut-outs on a pink cotton glove
for up-to-the-elbow glamour. By Fownes. $4
H Bright strokes of color shape a casual Sued-
ene shoe, cushioned platform.Honeydebs.$3.99
I In the style of fine Italian craftsmanship,
a large carryall pouch in beech cowhide,
with newly shaped winged flap. Ronay. $15*
FASHION OUTLOOK
continued
Photographs by Bert and Stan Rockfie/d
J Shocking pink Java straw handbag for a
Rash of color. Linen-lined. Ingber. $10.95*
K Airy calf pump in a new color, violet. The
Irim: a crescent of flowers. Trim-Tred. $9.95
1 Open-toed Social pump in burnished gray
calf, cut steel buckle. By Paradise. $14.95
M Bright yellow scalloped cowhide belt — sure
to flatter any waist. By Fashion Belt. $2
N Diamond-paned pouchy harlequin tote,
iparked with shiny "patent.” Coronet. $10.95*
jO Wood viofets in deep purple bring spring
:loser to your door. Flower Modes. About $2
P Return of the elegant glove— -these in pink
glac6 kid, buttoned in crystal. Aris. $5.95
P Sheerest stockings ever made, mere wisps
in new mink tones. Gotham Gold Stripe. $1.95
R Long ropes of lustrous, uniform "pearls”
—60" of fashion for the girl with accessory
know-how. These by La Tausca. Each, $2*
69
PHOTOPLAY
REMODEL YOUR FASHION OUTLOOK
I
continued
S^AR
FASHIONS
i
|
I
j
|
i
i
I he spice ot fashion, accessories like these accent the lovely
clothes Diana Adams wears. Lightweight pale blue wool jersey suit
worn here has jewel-trimmed circle collar, winged cuffs and a cut-
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A Mist gray 2 1 " weekender in textured vinyl plastic. Crown. $ 1 8.50*
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I For Where to Buy see page 84
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71
My Daughter Was Ready for Marriage
p
72
(Continued from page 37)
Patrizia, the smallest, who is only six
today, was just a baby and was willing to
accept authority from anyone.
Marisa was more mature, more sus-
ceptible to suggestions than her twin Pier,
who was high spirited and independent.
When Marisa and Pier were little, if I
said something was red, Marisa would
take my word for it. To Pier, I had to
prove it. Sometimes, I still have to.
All along, Pier has been the most af-
fectionate, the most demonstrative and
the most impulsive of all my children. This
frequently led to misunderstandings.
For instance, when Pier would meet an
acquaintance, she would think nothing of
throwing her arms around him and giving
him an enthusiastic hug. That sort of be-
havior was all right in Italy, where an
“in braccio” was customary. But in Amer-
ica, this was not the case. I tried to im-
press this upon Pier.
Just a few weeks before she was to be
married, a reporter came to our home.
Pier had known him since she first came
to this country, but hadn’t seen him for
many months. “It’s wonderful to see you
again,” Pier burst out the instant he en-
tered the house, and with arms spread
out, rushed toward him. About two feet
away, remembering my advice, she came
to an abrupt stop, meekly stuck out her
hand and said, “How do you do?”
The reporter looked dumbfounded.
Tied with her demonstrative nature is a
feeling of sentimentality, which Pier had
difficulty in completely outgrowing and
which made it unusually hard for her to
take some of the everyday disappointments
that are so much a part of life.
When she lost Kiss, her pet Spitz dog,
which was a present from her godfather,
Pier was heartbroken. Always affection-
ate toward animals, Pier treated Kiss like
a friend. She’d walked with him and talked
to him, and the mere thought of leaving
him behind in Italy when we went to the
United States was almost more than she
could bear. Yet, there was no choice.
She was consoled a little, however, when
her grandmother, who lives in Pesaro, a
resort on the Adriatic, offered to look
after Kiss. We took him to her two weeks
before we left for the United States. The
week before, grandmother called us in
Rome with the sad news that Kiss had
sneaked out of the house, and in running
across the street, had been crushed be-
neath the wheels of an oncoming truck.
When I told Pier, she cried harder than
she’d ever in her life. For three days she
wouldn’t touch any food, and neither beg-
ging, warning or threatening could make
her take a bite. Four days before we left,
and we almost postponed the journey, she
started to take a little broth. With the ex-
citement of the flight itself and the prom-
ise of another dog, she finally got over it,
though for many months she could get
tears in her eyes when anyone mentioned
Kiss and even today hasn’t gotten com-
pletely over his loss. But I am proud to
say Pier has learned to understand her
emotions, and because she is so sensitive,
is understanding of other people’s prob-
lems. She should make a warm, under-
standing wife.
Although I will be forever grateful for
the happiness and opportunities which the
United States, and Hollywood, have pro-
vided my daughters and myself, moving
to a new country, with all the difficulties
and adjustments we faced, added to my
concern about Pier.
When we settled here, she was only
eighteen — and young for her age even by
Italian standards. Because she trusted and
believed people regardless of whether she
had known them for years or just met
them, Pier was always personally vulner-
able to being taken advantage of. At the
same time, curiously enough, she was
adult beyond her years. When it came to
helping friends, both professionally and
in personal matters, she had great under-
standing.
Getting into the film industry in Holly-
wood was in itself a challenge and an edu-
cation for Pier. For this world of make-
believe, of compliments and promises can
easily turn a young girl’s head. Pier has
learned these past years to appreciate all
sorts of people and, in turn, to evaluate
herself.
It may sound as though I had been
against Pier’s career in the beginning. On
the contrary, I was very much in favor
of a career for Pier — even in opposition
to her father’s wishes.
My husband, who was an engineer, op-
posed any theatrical career for his chil-
dren. Knowing how strongly he felt, when
Mr. De Sica, who directed “Tomorrow Is
Too Late,” happened to see Pier and men-
tioned she might qualify for the lead, I
didn’t tell a word of it to Mr. Pierangeli.
I knew that Pier’s heart was set on a
movie career and, for eight months, while
she was testing and preparing herself
for the part, I connived with her, with
Marisa and even the servants to keep the
news from my husband until we knew if
Pier would be chosen.
After eight strenuous months, Mr. De
Sica decided Pier was right for the part
and I had no choice but to tell my hus-
band.
I vividly remember the evening I sent
Pier to her room and went into the living
room to speak to my husband. “I have
news for you, dear,” I said.
“Mr. De Sica wants Pier for a picture
and ...” I got no further. I thought the
roof would fall in, my husband was so
angry.
But since I had already signed the con-
tract, there was little we could do about
it then. In time, Mr. Pierangeli did over-
come his conservatism, and since her
career made Pier happy after her terribly
hard time during the war, he didn’t ob-
ject long. I only wish he were still with
us today and could see how much acting
means to his daughters.
When we settled in California one of my
biggest concerns was to establish a prop-
Color portraits of Janet Leigh, Cyd Charisse,
Lori Nelson, Arlene Dahl, Barbara Rush by
Stern; Elizabeth Taylor by Apger ; Virginia
Mayo by Six; Dale Robertson by Bachrach;
Ann Blyth by Apger; Grace Kelly by Fraker,-
M-G-M’s “The Glass Slipper" by Shugrue-
Carpenter; Tony Curtis by Ornitz; Kirk Douglas
and wife by W alt Disney Studio
er balance between Pier and Marisa. Thi:
was difficult not only because Pier, beinj
peppier than her sister, makes friend:
more easily, but because from the verj
beginning, her career zoomed ahead quick-
ly, while Marisa ’s didn’t really get startec
till just a short time ago.
My number-one ally was the love of the
twins for one another. I can’t recall e
single instance of jealousy between them— i
not when they played together as chil-
dren, nor in their teens, nor during theii
first days of being courted (although af I
times both liked the same fellow). Never-
theless, the situation had changed when
we came to Hollywood, with all attention
suddenly focussed on Pier. Keeping
the necessary equilibrium called for I
diplomacy.
For instance, when Pier bought a new
dress, I made certain that Marisa had one
just as nice. When Pier got a car, as soon
as possible, I saw that Marisa had one
comparable to it.
I’ll never forget Pier’s expression when
we celebrated the twins’ nineteenth birth-
days at the Beverly Hills Hotel just a few
weeks after we had arrived over here. “I
have something to show you,” I told her
after dinner, and took her and Marisa to
the front of the hotel. The girls got so ex-
cited they had a hard time to keep from
running through the foyer. And when
Pier found the brand-new car parked
right in front of the entrance, she broke
into tears from happiness.
We couldn’t afford a second car for
Marisa at the same time, but on their
next birthday, by which time Marisa’s
own earnings had increased, we repeated
the procedure. This time after dinner it
was she who found a brand-new car at
the hotel entrance.
And the year after, in spite of the fact
that Pier’s earnings were bigger than
Marisa’s, for their birthday I purchased
the home in which we are now living, and
had the deed registered in both their
names.
In another respect I had to watch that
one of my twins wouldn’t lag behind. Pier
makes friends easily. Marisa, more quiet
and selective, has a harder time showing
affection and getting acquainted with
people. So she wouldn’t be left out of
social activities, often when Pier was in-
vited for an evening she would ask
Marisa to go along. I remember one in-
vitation Pier received when everyone was
asked to bring something along. The
hostess, who had referred to games, was
more than a little surprised when Pier an-
swered, “Sure, I’d love to bring along my
sister.” I was happy to hear this, for Pier
has learned to share — which is so very
important in everyday life and important
in marriage.
It has been said that I wouldn’t permit
Pier to go out alone on a date till she was
twenty-one and that I carefully screened
the fellows she could date. I might have
done this if we remained in Italy but I
didn’t once do this in the United States.
It is true that I have been very particular
about the persons with whom Pier and
Marisa associate. I have always emphasized
the importance of marriage and insisted
that both of them take care in the selection
of their friends. But I have never insisted
upon whom they could or couldn’t see.
From their nineteenth birthdays they have
been permitted to go on dates without a
chaperon. The only restriction at that time
was they be in before midnight.
I feel very strongly that a girl should
prepare for marriage. With Pier’s all-im-
portant interest in her career she had little
inclination to run a household. She had
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73
little taste for cooking, and the first time
she tried to be of some use in the yard,
she thoroughly sprayed everything from
the house to the cars, everything except
what she was aiming at — the flower beds.
Little by little I explained the satisfac-
tion of being a good homemaker, a good
hostess, a good wife. Pier may not haye
mastered household arts — for she’s still
busy with her career — but she does have
a sincere and enthusiastic concern to im-
prove in this category.
Another big problem — one of Pier’s big-
gest— had always been her difficulty to
handle finances. If she had money in her
purse, she spent it. I finally had to give
her just enough money to see her through
the day. If she wanted to buy something
special, she’d come to me and ask for more.
Then I tried a new approach. Instead of
giving her just pocket money and having
her come to me with all the bigger ex-
penses, I put her on a regular monthly
allowance out of which she had to take
care of all of her personal expenses. It
worked. Given the responsibility of man-
aging her own budgetary affairs she
learned financial responsibility and bud-
geting— although I don’t think Pier will
ever be a financial wiz. But with Vic’s
business mind she won’t have to worry.
Before her marriage, Pier was satisfied
to let me make all her social engage-
ments and arrangements. She would sim-
ply say she’d like to have her agent over
for dinner one evening and ask me to
handle the invitation and preparations. I
used to warn her that she should be
learning to take over these functions her-
self. However, since her marriage, Pier is
delighted to handle these tasks and is
proud to have guests in her home. And I
must admit that her rather informal and
relaxed manner might even make her a
more enjoyable hostess.
Pier has always done things good-
naturedly, without too much concern. This
is how she bought her last car, took up
golf as if nothing else mattered and talked
about getting a horse. Unfortunately, not
all her whims were as inconsequential as
her craze for golf or horses. My biggest
concern was the romance department.
I know it’s not unusual for a very young
girl to get constant crushes and get over
them as easily and quickly as new ones
come up. But Pier used to worry me. She
had never outgrown that stage. Until she
met Vic, I don’t think she had ever really
been in love. I used to tell her, “That’s
not being in love, just liking to be with
someone, having a wonderful time. Love
is more than that.” It took Pier a long time
to find out I was right, but she understood
and told me so, when she met Vic again.
She was able to recognize love.
Pier first saw Vic four years ago when
he sang at a party given at the Waldorf-
Astoria in her honor by Arthur Loew to
celebrate her eighteenth birthday and her
arrival in America for “Teresa.” I remem-
ber at the party, Peggy Ann Garner asked
Pier if she would like to meet the young
singer, Vic Damone. Pier was aghast. She
couldn’t speak a word of English, besides,
even if she could, she wouldn’t want to
meet him. She didn’t know what to say,
she had never even had a date. Her reply
was a good strong, “Oh, no, no!” They did
not meet.
About a year and a half later, we were
in Germany for the filming of “The Devil
Makes Three” with Gene Kelly. One eve-
ning after work, Pier received a telephone
call from Vic Damone. He explained that
he was stationed nearby with an Army
entertainment unit and that he, too, was
p under contract to Metro. Pier was de-
lighted to hear from someone from her
studio and her new home in America, but
she declined his invitation to be his guest
74
at a show they were giving that evening
for the boys. She said she was very tired.
But Vic protested and Pier had a little
conference with me. I reminded her that
Vic was the charming Italian boy she had
seen in “Rich, Young and Pretty,” and
who sang at her birthday party. Pier
agreed to join Vic if she could bring me
along.
It’s funny now to remember it, but when
Pier opened the door later that evening
to let Vic in, her face must have shown
her disappointment. He looked quite dif-
ferent from the romantic boy in the movie.
“All dressed like a soldier,” says Pier. Vic
sensed her disappointment, too, and he
apologized for his khakis, “I’ve got many
suits in America,” he said.
The taxi that evening was a jeep and
Pier and I and another GI got into the jeep
for one of the bumpiest rides we’ve ever
had. It took about an hour to ride to the
camp. On the way, Pier reminded Vic that
he had sung “Happy Birthday” to her at
a party. Vic was surprised, “Oh, no, you
mean that was you I was singing for, and
I didn’t even know it?” He hadn’t re-
membered Pier at all.
Before the program started, Vic was
very nervous and worried about how he
was going to sound to all those enter-
tainment-starved soldiers. Pier removed
a little gold chain and medal she was
wearing and gave it to him for luck.
Vic had to leave us so we settled in a
dimly lit corner of the makeshift stage
where we could watch the show and yet
not be seen. Vic first sang “Mama” for
me, then announced that he wanted to
sing “September Song” especially for
someone who was there that night. He
asked the boys if they’d like to see that
“someone” and he walked over to get
Pier. I’ll never forget Pier’s expression.
She was frightened to death and begged
Vic not to make her go out in front of
all those people. She’d never been on a
stage before, she told him, she wouldn’t
know what to say. Vic took her hand and
gently led her out onto the stage. With
his arm around her, he sang what later
was to be “their” song, “September Song”
to Pier.
During the following three months that
Pier was locationing in Germany, she saw
Vic almost every night. Along with a
friend of Vic’s, the four of us would go
out to dinner and dancing. Whenever Pier
and Vic heard “September Song,” Vic
would order glasses of “just a little bit of
champagne” (since neither of them
drinks ordinarily). Before we left Ger-
many, Vic asked Pier to marry him. But
Pier said no. She was young, and there
were so many things to think about, her
career, her new life in a new country, the
eight months more that Vic had to serve
in the Army.
When we returned to America, Pier be-
came involved in her career and soon be-
gan dating other boys. When Vic came
home from overseas they met occasional-
ly at the studio and were friendly but
nothing more was said about marriage.
Often Vic would come over to visit us
at home. I have always been very fond
of him and he was always welcomed,
whether Pier or Marisa were home or not.
I’d cook his favorite Italian dinners for
him and he’d always bring the dessert —
spumoni, which is my favorite.
Then last September — the thirtieth to be
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exact — Pier came home and I knew sonu
thing had happened. It was just a slo'
Friday afternoon, she explained, so st
decided to drive around the Metro lo
Noticing a picture was in progress on or
of the stages, she decided to see what w;
going on. When she walked onto the bus i
set, Vic was singing a beautiful Italia
lullaby. Pier stood and watched and whe j
Vic finished the number he noticed Pier an i
dashed over to her. He invited her to sta
a while. She did, for about fifteen take;
When the shooting finally wound up, Vi
asked Pier to go across the street to th
Retake Room for a Coke. When they ar
rived at the cafe, Vic put some money i
the juke box — and played “Septembe
Song.” He brought over two glasses wit ‘
“just a little bit of champagne.” Pier say;
“Nobody ever dances there,” but they di
for about an hour. “Everybody was star
ing at us; Gene Kelly and some othe
people from the studio were there watch
ing. I knew I should have been home, get
ting ready for a date I had that night, bt
we just kept dancing.” Suddenly Vic saic
“Let’s get married.” Pier “couldn’t believ
it.” “You’re kidding,” she answered. “Yo
just don’t do things like this! You must b
drunk. He assured her he wasn’t, but t
no avail. Since Pier already had a dat
for that evening, she declined Vic’s dat<
but promised him she would stop by g
the golf course the next morning on he
way to work, and see him before h
played.
I knew when Pier got up a half hou
earlier that morning that Vic meant mor
to her than she realized. When Pier me
Vic that morning at the course, he ra
over to her and said, “You know I’m sobe
this morning. Let’s get married!”
Pier’s answer was the same as the nigh
before. “Well, let’s get engaged?” Vic the:
suggested. Pier’s answer was still “No.
But she did say yes when Vic asked he
if she Were going to a party that nigh
And she agreed that although she wa
going with her agent and his wife, sh
would look for Vic there.
Pier was on pins and needles before sh
went to the party that evening, but sh
didn’t tell me why. When she arrived, Vi
was n^t there and for the first hour am
a half all she can remember is sitting
with her eves glued to the door (“I
seemed like an eternity”) . When Vic final
ly walked in, “beautiful in a dark blu
suit,” Pier said to herself, “This is it!
Wanting to get away from the crowd the;
went to Pepe De Lucia’s to have dinne
with Vic’s agent. Pier says Vic just sa
there and stared at her for a long time
Then he said, “I want to talk to you
mother.”
First, though, he called his family ii
New York, yelled, “Mama, Papa, I’m en
gaged.” Then he telephoned me. I was s
surprised, I didn’t even know Pier wa 1
going to see Vic that evening. Then Pie
got on the phone and said Vic wanted t
talk to me. Then Vic got back on th
phone and excitedly said, “Mama, I wan
to see you tonight. Will you be up a
twelve? I’ll bring you some spumoni.”
really didn’t know what was going on, am
the children weren’t much help, but
agreed I’d stay up till they got home.
When they finally arrived Pier wen
upstairs and Vic came in to speak to m
alone. (He and Pier had agreed she’(
come down only after he whistled.)
thought to myself: Something is wron.
because usually Pier comes in and chat
madly about what she did and who wa
there and what everyone wore.
Pier changed out of her party clothe:
studied her script for “Green Mansions,
which she already knew by heart, pacei
the floor and waited and waited. Still m
whistle. “It seemed like fifty hours.” Final
r she couldn’t stand it any longer and
ame downstairs. There Vic sat, calmly
dking to me, and I sat, tears running
own my cheeks, gulping spumoni. A
idiculous sight, no? When I finally caught
ontrol of myself, I asked them when they
ranted to be married. Vic said, “Right
way, next Saturday.” But we had so
luch to do that we finally set the date
jr November 25th, Thanksgiving Day,
ut then we changed our minds again and
xed it for November 24th because we felt
; would be best not to have it on a holiday.
The following Monday, the studio an-
ounced the engagement. Vic picked out
beautiful emerald-cut diamond ring for
'ier and she bought him a star sapphire
jing and a small gold cross on a chain —
ery similar to the first gift she had given
im, the small cross she presented him
ior luck in Germany. Vic’s wedding pres-
ent to Pier was a similar cross necklace
f diamonds.
li We had so many, many things to do.
’ier and Vic had to look for a place to
:ve, then Pier had to choose her brides-
maids and her gown and theirs’. Pier de-
cided she wanted an all-white wedding.
Her gown was designed by Helen Rose
Jnd was a bouffant lace and chiffon,
rimmed with tiny seed pearls and her
eadpiece was a Juliet cap. The brides-
iaids’ gowns were all white with just a
ouch of soft pink trim. Their dresses were
esigned in Italy. Pier’s entire trousseau
/as also designed and made in Italy. Every
ay sketches were sent over for her okay —
hey were most lovely. Marisa was maid
If honor. Her bridesmaids were Sandra
jnd Elaine Farinola, Vic’s sisters, Lupita
lohner and Taina Elg. Little Patrizia and
er friend Simonette Giaroli were flower
jirls. Vic chose for his best man, Bo
loos, Jr., and the ushers were Dean Mar-
in, Tony Martin, Joe Pasternak and Bob
! Sterling. Then we made arrangements for
luncheon reception at the Bel Air Hotel
nd began the hundred and one things
hat must be done for a wedding.
| During these weeks, Pier and I and Vic
lad many times to talk about the future.
7ic could see I was a little overwhelmed
ly their sudden decision. “You don’t have
o worry about your little Anna Maria,
Mama Pierangeli,” Vic told me the day
iter their engagement. “You are not
osing a daughter, you are gaining a son.”
nhen added with a smile, “Confidentially,
to you know what sold me on married
life with your daughter? — your cooking,
f she’ll do half as well as her mother, I’ll
lever have a word of complaint.” Later,
jin, a more serious mood, “I just know when
jive celebrate our golden wedding anniver-
sary, I will love her as much as I do to-
tay.”
Pier, too, was sure. And I knew by the
vay she talked about Vic that for the first
ime in her life, Pier was really in love.
‘This is a wonderful thing we have to-
gether,” she said one day just before the
Ivedding. “We understand each other. Our
noods are together. He even seems to
. mow what I’m thinking. It sometimes
: cares me to death, though I won’t ever
lave any secrets.”
Two young people willing to share the
?ood and the bad, the present as well as
he future, their thoughts and their goals —
his is true love, this is what marriage is
created from, I said to myself. Pier is
lappy. Vic is happy. I, too, am contented.
I had tried hard to prepare my daughter
or the most important role of her life:
o recognize love, to know it completely,
:o be a good wife. Many times I had been
accused of being too strict with Pier.
Many times I had asked myself if perhaps
;his were not true. But on her wedding
lay, both Pier and I knew I had been
right. The End
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( Continued from page 55)
and Michael Wilding . . . Their explana-
tion would have been simple.
This was their new home and they
were going to move into it presently. They
had come up after work to have a look
around. It was so beautiful there that
Liz dropped to the floor, pulling Michael
down with her. ‘ Let’s stay awhile,” she
begged. “Let’s just sit here on the floor
and play music.” So they turned on the
recording machine which has speakers
in every room in the house and just sat
there, and the music played, and the hours
went by.
You might ask, “Why would anybody
do a thing like that?” It’s really quite
simple. Elizabeth is in love with her new
house!
“Liz has very little of the housewife
in her,” Michael confides. “She’s vague
about household things. Forgets to order
dinner. The dinner hour strikes, ‘Oh, mi-
gosh,’ she groans, ‘we haven’t anything
to eat!’ She has no time for, and is not
interested in domestic details, that’s the
whole of it. Not one to go in and whip
up something in the kitchen. She never
learned to cook and I have no reason to
believe she’s going to learn now. Excep-
tion: She does do bacon and eggs and
she thinks they are the best in the world.
But she never remembers to warm the
plates — result, cold eggs!
“In addition to her lack in the domestic
arts which I, being fairly undomestic my-
self, do not consider a fault, Liz does have
two genuine faults. One is being untidy;
the other is being unpunctual. She hangs
her things up on the floor. Any floor. She
can make a room look more like a typhoon
hit it than a typhoon would. Any room.
It’s kind of a disease with her. So is her
total inability to be on time. Her inten-
tions are pure gold. She always starts
in time, then idles, does her nails, puts a
long playing record on the record player,
dreams while you — and I — wait.
“She’s inclined to be rather generally
vague. If I know a date has been made
for us to dine or lunch, I usually check
in the night before. She just forgets; it
doesn’t register.
“No, not domestic, nor eye on the clock,
a bit absent-minded, shall we say but as a
home-lover and lover of home life, Eliza-
beth is second to none.
“This new home of ours is a house de-
signed by an architect with Elizabeth in
mind (he had seen her only in pic-
tures). I heard about it when we were
in Florida. As soon as we got back, I
showed Elizabeth the house. Not wanting
to commit myself in any way, I didn’t
check with the architect or realtor, we
just climbed the wall and trespassed. Liz
was enchanted by the place. The archi-
tect couldn’t have built it nearer to her
heart’s desire if he and she had drawn
the blueprints together. It’s built on
two and a half acres of land atop a cliff-
side so sheer you have to use a rope to
get down. When Liz saw it she said, ‘This
is our land!’
“The house is modern and made of buff
aged-brick construction, with a shingle
roof. The living room is entirely oak-
paneled (with the exception of one wall,
which is fieldstone) and roofed with mas-
sive oak beams. At one end the large
sliding glass doors open onto the pool.
The entire house is built, in fact, in a
semi-circle around the pool. One of the
most interesting features is the wall of
p solid bark planted with moss and ferns
which divides the living room from the
dining room.
“There are three bedrooms in the house,
Vaguely Wonderful
each with it’s own firenlace, one of which
we have converted into a library. On the
side of the swimming pool, opposite the
house, there’s a small cottage which is
our secretary’s office.
“As far as the interior decorating and
furnishings go, we haven’t reached much
beyond the talking stage. We haven’t had
time. Ever since we bought the place,
we’ve both been working every day —
Liz in M-G-M’s ‘The Last Time I Saw
Paris,’ with Van Johnson; I, in 20th Cen-
tury-Fox’s ‘The Egyptian’ and then, with
Leslie Caron, in M-G-M’s ‘The Glass
Sliooer.’
“It’s often said that you can spot mar-
ried couples in a restaurant by the glazed
expression in their eyes — I’m afraid we
would be hard to spot if that’s true. Any-
thing glazed in our eyes isn’t due to mar-
riage. It’s due to hard work.
“But back to the house. Even in the
talking stage, I can visualize the house
as it will be when Liz gets through with
it. She has a flair for interior decoration.
In our previous house she used a peri-
winkle blue material, which she’d had
around for ages, on the couch (Liz hangs
onto things! ) . Two big purple chairs. One
bright green chair. Vivid decor, to say
the least. But now she’s going in for
quieter colors. ‘The outdoors which
comes indoors will supply all the color,
that’s needed here,’ Liz says. Off-whites
are what, I believe, she has in mind to
use. Beiges, and so on.
“We’ve also done a bit of extra build-
ing, such as the car port at one end of the
house which we need because we’ve taken
the garage and made it into a nursery
with two children’s rooms and baths.
Our hope is that there will be two chil-
dren (preferably more than two) to oc-
cupy them. Liz can’t wait, she says, to
have more children.
“She’s a wonderful mother. She is
MARCH OF DIMES
FIGHT
INFANTILE
PARALYSIS
JANUARY 3-31
absolutely mad for young Michael How- 1
ard Wilding. She won’t have a nurse who
is what she calls, ‘One of those nurses’ —
meaning, I assume, one of the real pros i
who believes that wherever a parent’s i
place may be it is not in the nursery! ;
When we’re at home, the baby is with us
and what is done with him, and for him, '
Liz does.
“As a mother, she’s wise, too. Strict
about schedules and things. When the
baby is napping she won’t wake him up
no matter what VIP comes to call. His
meals, his bath hour, his playtime and
bedtime are on the tick — the only thing
Liz does on time.
“Liz doe~n’t sell discipline short, eith«*\
Now at the grabby stage, when he picks
up everything in sight and makes a game
of handing them to Liz, she takes it jus+ so
long, then she takes measures. But he’s
a very good little boy, I must say, has
Elizabeth’s eyes and my hair, poor little
wretch, straight as a die! Matter of fact,
he looks a bit like pictures of me at his
age. He may, being very young, grow out
of it.
“I think that some time in the near
future Liz would like to retire. Especially
if we have more children.
“ ‘Husband, home and children are pur-
pose enough in any woman’s life,’ I’ve
heard her say. ‘If she does it well.’
“As long as she is in pictures, how-
ever, Liz wants to do that well, too. Very
well, indeed. She’s like that. I suspect, j
too, that although she pretends not to
have much feeling for the career, she
really has.
“Whether or not, she is certainly as
casual a career girl as it is possible for
a career girl to be. The star-complex is
not in her. We never have any shoptalk
at home. When we meet after work in the
studio, or at home, we may ask ‘How did
it go today?’
“Oh, all right we say — and let it go at
that.
“Or if I ask Liz a question, as I do
occasionally, about some especially im-
portant scene I know she’s done that day,
what I get is a noncommittal, ‘Mmmm . . .’
“I’m the same. I learn my lines as well
as I can and get out. Acting-wise, I’m not
selfish. No altruism on my part, however,
simply that I hate the camera, the proof
of this being that I became famous for
the back of my head! I enjoy doing the
job of acting as well as I possibly can,
but if I had been a better artist than I am
(I used to draw for my living) I would
have been very happy. I’d much rather
be a good artist than a good actor.
“Acting-wise, Liz is also unselfish —
completely. She’s always throwing a line,
a scene, a close-up to somebody else.
Elizabeth’s unselfishness, however, is
rooted in finer soil than mine — in her
natural generosity of spirit; in her as-
tonishing lack of ego. The star-complex
is simply not in her.
“I suppose we should both be more
conscious of career than we are. Yet I’m
glad we’re not. Careers, when they be-
come too important, can foul up a mar- ,
riage. If you take them in stride, don’t
pay too much heed to them, ordinary liv-
ing has a better chance.
“When you begin describing how pret-
ty Liz is, it gets corny. You can’t de-
scribe her. She is beyond description. You
have to see her. Yet she is seemingly un-
aware, certainly unselfconscious of her
looks. Never carries make-up around
with her. You never see her using a mir-
ror. She was extravagant, at one time,
about clothes. She isn’t now. The Finance
Department has taken care of that! Be-
i ides, there are other things she wants.
)ne of them is security. So she’s enjoying
or the first time dresses, coats that don’t
ost very much.
“Even so, when she’s dressed to go
iut if I don’t notice what she’s wearing
and I usually do) she calls my attention
o it! She loves these great big hoop ear-
ings that hang and jangle and distract
'ou. I must say I dislike them and do a
ittle coaxing for her to take them off.
“Around the house we both love to
vear old clothes. We like to get in the car
r’vith the baby and take long drives. We
joth read a lot. And Liz adores all the
nysteries on radio. I don’t, I like the
ights. But we have just about every-
hing else in common. Our friends are
nutual friends — the Stewart Grangers,
he Dick Burtons, Deborah Kerr and her
lusband Tony, Janie Powell and Pat, and
ithers. We both love animals and we’ll
>ick up a stray anything, number of legs
10 consideration. Liz, as is well known,
las magic with animals. She is the girl
hat talks to horses. Someday she hopes
o raise prize horses. Life with Liz is
lever shared with less than five pets. We
iow have four dogs — all poodles — and
our cats. The cats are strays. Liz loves
o adopt them, especially if they’re
crawny, and build them back to health.
N'e also have a duck. The duck lives on
Elizabeth’s shoulder. When she leaves the
oom without him, he shrieks. The duck,
when young, was put in the baby’s play-
>en. He has now outgrown this and is
;iven the run of the house.
“I would hate to go on an African
;afari with Liz. She would literally Bring
fhem Back Alive — and turn the house
Into an informal zoo.
“We both paint, have a great interest
n art and love to browse around gal-
eries. We had a ball in Europe. We’d
love to travel more than we do, but when
we’re not working and can get away, we
always seem to have a house to buy or a
baby coming! With the result that I
have never been to San Francisco, have
flown across the country eight times and
only know the Chicago Airport and al-
though we’re both dying to go to the
Hawaiian Islands, if only to say Aloha,
and return, we haven’t been.
“A pity, too. Because whenever we do
get away, it’s almost like a honeymoon.
When Liz was in London, a year or so
ago, making ‘Beau Brummell’ I could
only stay in England briefly since I had
to be in Paris. Liz came over every week-
end. On the morning of her arrival I’d
rush out to a restaurant, a small cafe
and order the dinner, the wines. Late at
night we’d go to a little place we know
where they play violin music. As dawn
was breaking we’d go out to Sacre Coeur
to church and then to the market for
onion soup.
“Temperamentally we’re very much
alike, too. Both lazy. We love just sitting
and playing records or watching tv. Hate
big parties. Are not the athletic types.
Never go winging our way around a ten-
nis court, just fall in and out of our pool.
“Liz is not, of course, listless-lazy.
There’s a sparkle about her laziness.
“Lately, we’ve been on a new kick,
playing poker. Usually with the chap
who built our house and his wife. But
we’ll play with anyone foolish enough
to sit down with us. Liz, being more
crafty than I am, is the better player.
But this too will pass, I daresay. And we
will revert to the state of utter passivity
which is Heaven to us.
“I am sentimental and, in a somewhat
different way, so is Liz. Generally speak-
ing, we’re both pretty moved by things.
We both react emotionally, that is, to
laughter and tears. We hang onto things,
too. Old letters, clothes, odds and ends.
We’re hoarders. I must admit that, though
I don’t remember birthdays, anniver-
saries and the like. Like Mother’s Day
for instance. Last Mother’s Day, Liz sug-
gested I go out to buy a present:
“ ‘For what?’ I wanted to know.
“‘For Mother’s Day,’ said Liz.
“ ‘For whom?’ I asked.
“ ‘For me,’ said Liz.
“‘From whom?’ I persisted. ‘Not from
me, certainly — you’re not my mother!’
“ ‘From my son’ Liz said, rather patient-
ly considering the circumstances. ‘Who
else?’
“In the present-giving department, how-
ever, I now have a good excuse: The house
is costing so much, I send Liz flowers.
Violets, usually. Liz loves violets. In
clothes, too, shades of violet are her fa-
vorite colors. Star sapphires are her favor-
ite jewel— but we won’t go into that!
“To me, I think the most important
thing about Elizabeth is that she is very
brave. Brave about actual physical things,
afraid of no person and no animal, nor of
any illness that may affect her person.
And apart from physical dangers, illnesses
and such, she is undismayed by life.
“Last year when she got a steel splinter
in her eyeball and nearly lost the eye, I’d
spend every noon hour at the hospital with
her, take her little things, perfume and
such and, with both eyes bandaged, she’d
show off for me, how she could find the
little gadgets in the dark, manipulate them,
how it wouldn’t matter too much, even
if . . .
“Liz is not only very beautiful without
but brave within which gives her a very
fine — -a very splendid kind of beauty.
“I may be prejudiced but, they broke
the mold when they made my Elizabeth.”
The End
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There’s a Girl
(Continued from, page 34)
“She’s dressed?” said Mike in simu-
lated surprise. “Well, okay, we’ll go. But
only for an hour.”
At this point Virginia walked in, a
heavenly vision in scarlet. “It’s beautiful,
sweetie, we’ll go for an hour,” Mike said.
And as they were leaving he turned ag-
gressively to Lucy and said, “If anyone
calls, we’ll be home by nine o’clock.”
I was dozing on the divan when they
came back at 2:30 a.m. Virginia looked
radiant and said, “We had a wonderful
time, didn’t we, Mike?” Mike looked at
her for a moment, “Naw, I was ready to
leave at nine, but I couldn’t find you. So
I found some people who weren’t talk-
ing about themselves. Then I had a
good time. We sat around, talked about
history. Where were you?” Virginia said,
“I was having a great time. I was danc-
ing.” Mike looked at her with a grin, “I’ve
always said, sweetie, when you’ve got a
beautiful girl in your arms, why dance?”
On that note I said good night and went
out to my home away from home, the
O’Shea guest house.
Things like this go on in the O’Shea
household all the time. And I should know,
for I’m Girl Friday, friend, baby sitter,
fan mail consultant and recipient of Gin-
ny’s various experiments, which run the
gamut from guinea pig for a new hair-do
to food taster for new fudge recipes.
I have known Mike a long time because
I work for his business manager, but I
didn’t meet Virginia until about five years
ago when we lunched at the Knicker-
bocker Hotel one day. In contrast to
Mike, who is quick, glib and hilarious to
be with, Virginia seemed quiet. In fact, not
being demonstrative and yet having a
wonderful trait of complete honesty can
create confusion for those meeting her
for the first time. She sees no shade of
gray. She doesn’t waste conversation and
thinks seriously before she talks. She will
never be accused of chit-chatting. When
I first started becoming friendly with Vir-
ginia, her abrupt answers bothered me. If
I said, “Feel like a movie tonight?” and
she said “No,” I felt uncomfortable wait-
ing for the reason to come out. On the
other hand, she would never say, “Let’s
get together sometime,” which we are all
horribly guilty of. She says, “Why don’t
you come out Friday night for dinner?”
After that first luncheon, Mike and Vir-
ginia invited me out to the house so many
times I practically lived there. The practi-
cally became “actually” when I started
looking for another apartment. Mike and
Virginia insisted I would save gasoline if
I took over their little guest apartment,
at least until the baby came. So I moved
in — to one of the happiest periods of my
life.
Mike and Virginia are enough family
for anyone. When I had to go to the hos-
pital in July for surgery, they took over.
Virginia did everything possible for me
and Mike made hospital arrangements,
took me to their doctor and they cared
for me during the whole uncomfortable
period.
Virginia is the closest to being the ideal
girl friend that I ever hope to find. We
talk girl talk of clothes and hair-do’s and
movies. We save the Westerns and Spen-
cer Tracy pictures for Virginia to share
with Mike. But as we both love movies,
we spend some of the time when Mike’s
working traipsing in to Hollywood or go-
ing to the Valley shows. I remember the
first time we went to a movie together.
I didn’t know Virginia very well, so
I passed the fragrant popcorn stand with
a wistful eye. I was sure the glamorous
Called Virginia
Virginia Mayo would not indulge in pop-
corn munching. As we started for our
seats, she turned and said, “Do you like
popcorn?” I said hesitantly that I loved
it. “Good,” said Miss Mayo. “Let’s have >
a bag apiece with lots of butter.” And (
since then we’ve shared a lot of popcorn I
with lots of butter at the movies and in
front of the television set.
She has a wonderful sense of humor.
Virginia’s humor comes out so matter of
factly that it’s startling. One night Mike
and a friend were having a heated discus-
sion of the merits of king size and regu- i
lar cigarettes. Suddenly Virginia said,
“They really should have three sizes; king
size, regular and butt size for people who
want to stop smoking.”
She has a terrific clothes sense and no
one was surprised when she was voted the
best dressed woman this year. Even when
we are sitting in front of the television set
at home, Virginia’s outfit is an ensemble.
If she’s in pedal pushers or slacks, the
blouse, belt and shoes will blend to per-
fection. When we go out she always
dresses, mainly because she likes to. She
is what we call a New York dresser. She
is careful and completely groomed at all
times.
Her bedroom is completely feminine and
dainty and quite full of gorgeous clothes
and jewelry. She has a real penchant for
expensive costume jewelry and likes noth-
ing better than an excuse to drag it all
out. One night I couldn’t find anything of
my own to wear on a dinner date and we
spent a happy hour trying on everything
she possessed. She says with a twinkle as
she looks at the mountain of pretties, “I !
really must will this to the Guggenheim
Foundation.”
She has no false pride about where she
buys clothes. She is as happy in a marked-
down special as an original. The other
day at the studio the girls were raving
about her toreador pants with bright pen-
nies all over them. She said happily that
she found them, appropriately enough, at
J. C. Penney ’s in the Valley. She bought a
rather simple white net dress with masses ]
of ruffles and a black edging at the Broad- I
way Department Store and then had Moss !
Mabry, Warners’ designer, add some dis-
tinctive touches to it. When she wore it to
the Eddie Cantor premiere, she drew raves
for it. She probably told everybody hap-
pily where she got it.
Another time, she went shopping with ‘
a young starlet who really couldn’t afford
the three-dollar alteration fee for a peas-
ant skirt they discovered at Lerner’s. It
was a sale skirt and it looked lovely on
the girl. So, Virginia talked her into buy-
ing it and then took the skirt and the girl
home with her. She whipped out her sew-
ing machine and did a perfect alteration
on the skirt. She understands the inability
to pay a three-dollar alteration charge and i
she was quite happy putting her talent to
work for the girl. That, too, is a clue to
Virginia. She wouldn’t think of offering
the wrong thing to a person. When she
helps someone, it is with part of herself,
not with a check. She takes the time to
do for people.
Virginia has the knack of taking time to
do things and still seem unhurried even
though she has a strenuous schedule.
Again it goes back to what’s important
. . . and she seems to know. She has
helped so many people, but I know she’d
find it embarrassing to see it in print. She
is, honestly, a working friend.
Her complete lack of artifice and de-
lusions of grandeur are an inspiration in
this “keep up with the Joneses era.” I re-
member the time Mike was in San Fran-
cisco, and Virginia and I were going to a
78
I
premier together. Virginia has a Jaguar
and I have a Chevrolet. There is a slight
difference in their impact on the public
mind. Virginia didn’t feel like driving and
asked me to drive. As I’d never driven a
Jag, my car was the obvious one to take.
I protested that the public would be dis-
appointed if she arrived in my whoopey
and the industry would think she was go-
ing broke. She looked at me in that quiet
steady way and said, “If they like me now,
they’ll like me in a Chevy, Ford, Cad or
Jag.” I should have known better than to
protest, because Virginia just can’t think
that way. Later that afternoon, while my
Chevy was being washed she looked at it
and said, “What’s wrong with this car? It
looks pretty good to me.” And she meant
it. We rolled up to the premiere in it,
anyway, and I’m sure she didn’t lose any
friends over it.
In the same vein, she and Mike find
they cannot lead the exaggerated lives
that some of the other stars do. They like
to entertain but only for small groups.
And each guest is at the O’Shea home
strictly on his own merit. They enjoy the
simple pleasures of life. While everyone
else talks of a trip to New York, Miami
or Europe, the O’Sheas plan with delight
a simple educational trip through Yo-
semite or, after listening to me rave about
my home town for years, they might de-
cide to really see Spokane. They find no
need to impress anyone, so they do the
things they want to do.
I will give you proof that I trust her
completely. All women will know what I
mean when I say I let her cut my hair.
(She ragged me for weeks and finally I let
her give me a short haircut. She cut so
much I was really scared. She chopped
blithely away and then set it for me. I
held my breath when she combed it out. It
looked great. The best I’ve ever had. She
wasn’t surprised; she expected it to be.
I can honestly say Virginia is an oddity
in this day and age. Most women have
gotten to the place where they base
friendships on mutual distress or need.
But with Virginia it is friendship, clear
and simple with no ties or dependency
other than enjoyment.
I think the secret of Virginia is her deep
down philosophical acceptance of life as it
is. It isn’t a sense she’s acquired from
books. Rather it’s an inborn instinct of
quiet understanding. Virginia was born
with it and throughout her life it has
ripened and matured into a sure knowl-
edge of herself, her loved ones and the
world around her. She is aware that she
has a long way to go; that there will be
confusions and disappointments, tempo-
rary bursts of pain that will fade when
the strength to be happy is the basis for
living. For Virginia is happy. Her accept-
ance of life as it is has kept her from the
temptations of succumbing to the super-
ficial fame and success pitfalls that lead
so many here astray. Her honesty in eval-
uating herself objectively is a breath of
fresh air to me.
With the coming of Mary Catherine,
Virginia seems to have found complete
fulfillment. She has made the important
decisions of the future within herself. Her
home will always come first and her ca-
reer second. With Michael and Mary
Catherine as the roots of her own life, she
has blossomed into the beauty that comes
from tranquility of mind. No inner tur-
moil or inner burning dissipates her su-
preme serenity.
This is the Virginia I know. And with
the wonderful friendship of Virginia, my
admiration for Mike and playing “Aunt
Dor to the red-headed doll of the family,
as long as the O’Sheas will put up with
me, this is my home.
The End
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Inside
(Continued from page 33)
descends upon her for one of those in-
formal evenings of charades and barbe-
cuing.
Brides and Grooms: Poor Pier Angeli
and Vic Damone searched in vain for a
honeymoon house. Finally Bob Arthur
came to their rescue and rented them his
isolated hilltop home. Pier and Vic’s hide-
away is built in the shape of a ship with
a “deck” projecting out over a precarious
cliff. And their nearest neighbors are wild
rabbits, squirrels and coyotes! . . . But
Mitzi Gaynor and Jack Bean settled for
a house in the heart of the film colony.
San Francisco was wonderful to Mitzi
when she appeared there on the stage in
“Jollyana” a few years ago. One reason
why her wedding ceremony took place in
the beautiful bay city. . . . Three months
after 28-year-old Vera-Ellen met red-
headed 31-year-old oilman Victor Roths-
child, they became man and wife. When
Bing Crosby saw that handsome hunk
on Vera’s left hand, he asked her where
she kept the batteries! And the first con-
gratulatory wire to reach the happy pair
came from Rock Hudson, who was once
head man on Vera-Ellen’s romantic poll.
Hollywood Wonders: Why Grace Kelly
was so anxious to play in “Bridges of
Toki-Ri.” She has five average scenes
which could have been played by any
competent stock actress. But Grace is
merely magnificent in “The Country Girl!”
. . . Why 20th takes such chances with
valuable Robert Wagner. Hospitalized re-
cently for ear injuries received from
underwater scenes in “Twelve Mile Reef,”
Bob also still suffers ill effects from the
diet and contaminated water in Durango,
Mexico, where they shot “White Feather.”
Tub Thumpers: You can’t kill a guy for
trying, but those press-agented stories of
a romance between Debra Paget and Jeff
Hunter fell flat. She isn’t seriously in-
terested in any man and his current con-
cern is his beloved son. If necessary, Jeff
will fight for joint custody when Barbara
Rush sues him for divorce.
Studio Strippers: Tony Curtis and Jeff
Chandler no longer share that four-room
suite at U-I. They’re still buddy-buddys
but the studio built a snappy new dress-
ing-room building and now there’s room
for each to be in business for himself!
Friendly Enemies: Now it can be told!
“The Sea Chase” is finished and Lana
Turner couldn’t get her sexy self back
to M-G-M fast enough. She wasn’t ex-
actly enchanted with John Wayne, di-
rector John Farrow or those six scenes
that kept her on Kona Island four weeks.
Finally the beautiful blond blew her
beautiful top and reminded Farrow that
she “wasn’t a fifty dollar a week stock girl
and to take her role and stuff it in the
ocean!” The day the Duke married Pilar
Palette he chartered a private plane and
flew his friends to Honolulu for the cere-
mony. There were plenty of extra seats,
but Lana wasn’t even asked to go along
for the ride. No, she wasn’t concerned
because she felt she had been taken for
one already!
Many Happy Returns: On Rock Hud-
son’s 29th birthday, his mother and four
of his closest friends threw him a surprise
party in his own apartment. The cake was
decorated with the names of all his pic-
tures and topped by a chocolate camera.
He received more cuff links for his col-
lection and musical rolls for his player
Stuff
piano. But Rock’s greatest gift of course,
is being borrowed by master-director iJ5c
George Stevens to star in “Giant.” Last i ft
time he worked for Warners, Rock had i ^
one line to speak in “Fighter Squadron”
and was so nervous it took twenty-eight I
takes to get one good one. They didn’t
give him a dressing room either, so you
can guess where he had to change clothes!
This time he has a three-room suite.
jtit
Operation Hollywood: Yes, Marilyn
Monroe was even three hours late for her j
“minor surgery,” which caused a hospital
nurse to flip: “I’m glad she wasn’t expect-
ing a baby!” . . . And Dan Dailey may
have to check in for special treatment.
Rochester accidentally moved a chair on
the Jack Benny tv show, which Dan was
supposed to sit on. He landed on his spine
and has been in agony ever since ....
Walking Papers: Twice before Rhonda
Fleming tried to divorce Dr. Lew Morrill
and he talked her out of it. Now he’s
making his third attempt. . . . And Ed-
mund Purdom returned from Europe, but
didn’t return to his home and hearth.
Exasperated Mrs. Purdom no longer tries
to be an “understanding” wife. . . . With
refreshing candor Tony Curtis now admits
he and Janet Leigh were facing marital
problems. “By consulting a psychiatrist
and talking things out,” says Tony, “we
have greater understanding and our mar-
riage is as it should be — perfect!”
Here and There: Perfect house-guest
Montgomery Clift, paying a quick visit to
Hollywood, wouldn’t allow the Michael
Wildings to throw him a party. . . . When
Sammy Davis, Jr. lost an eye in a traffic i
crash, friends-in-need Jeff Chandler and
Betty Hutton filled in for the famous
Negro entertainer. . . . Virginia Mayo and
Michael O’Shea were in New York when
he was called back for a tv show. Mike
wouldn’t leave his love alone in the
wicked city, so they flew home for three
days — and flew right back again!
Baby Talk: Bob Taylor says — “It’s like a
dream come true.” He’s referring, natch,
to the exciting news that he’ll become
a father next June. In the meantime, the
Taylors head for Europe to bring back
her son. Ursula Thiess also has a daughter
by a former marriage, who is already in
this country. . . . Real estate agents hold-
ing a house with a built-in nursery,
please note. Peter Lawford’s interested
for a very official reason! . . . And Guy
Madison is so happy his bride voluntarily ;
gave up her career, because, “I’d rather
have a big family than a small scrap-
book.” Only dark cloud on Guy’s horizon
is the serious illness of his ex-wife. Poor 1
Gail Russell is now suffering from a liver 1
virus and malnutrition.
Cal Predicts: That Debbie Reynolds is
going to lower the boom on exploiting the •
private life of the Eddie Fishers. “After
we’re married,” confides this wise one,
“we won’t be news. That’s a good time
to give the public a rest!” . . . That Tab
Hunter can become one of the top box-
office stars of the country if Warners won’t
waste him in small, supporting roles. He
receives more mash notes from teenagers
than any young actor in Hollywood. . . .
That Terry Moore is heading for a new-
found popularity of a different nature.
When all that sex -pot stuff boomeranged,
Terry pulled in her headlines. She didn’t
work for a year and during that period
stayed home and acquired poise and
dignity which you’ll now see in “Daddy
Long Legs.”
The End
The Lady Is a Go-Getter
( Continued, from page 45)
up delightedly from a double banana split.
This is the girl a lot of people are talking
about. She’s got them confused, for no
matter what they want her to be — another
Ingrid Bergman, a well-scrubbed kid, a
Cinderella type, a snob, a shy filly — no
matter what they want, she insists upon
being Grace Kelly.
“Everything’s happened — all the pub-
licity—in the past year,” she says. “So I
get the sweepstakes’ winner treatment.
Frank Sinatra was talking about this and
he said, ‘I remember they called me an
overnight sensation. It made me sore. It
wasn’t overnight. It was ten years of
hard work.’ ”
And Grace Kelly? Well, she wasn’t dis-
covered pedaling a Good Humor wagon
down Sunset or posing for cheesecake as
Miss Light Bulb atop the Empire State
Building. The fact is that Grace, at
twenty-six, has been in amateur, semi-pro
and legit theatre for fifteen years. At
eleven she auditioned for, and was ac-
cepted by, a little theatre group, the Old
Academy Players in Philadelphia, and un-
til she moved on to New York, she worked
with that group as well as church and
school dramatic clubs. Prior to the age of
eleven, when she was just a child, she
played the neighborhood cellar-circuit in
a repertory of Mother Goose. She was
always imaginative. Dolls weren’t just
dolls; they were puppets.
“I was a long time growing out of dolls.
Even when I was thirteen and it wasn’t
proper to play with them, my younger sis-
ter Liz could easily coax me back to
them just by promising not to tell anyone
else, especially the boys. I always liked
make-believe games. But what helped
me succeed, I think, is that different op-
portunities came along at a lucky time.
They didn’t come before I was ready, if
you know what I mean. There’s all this
talk about making your opportunity but
what’s the good of breaking down a door
before you’re prepared?”
The story of Grace Kelly is that of an
earnest, intelligent girl who has been
making ready for a long time. It is gen-
erally assumed that because her father is
wealthy, Grace never had to peel her own
orange. Well, it’s true. Her father is
rich and their orange juice came in small
cans, frozen and concentrated. He paid her
tuition when she entered the American
Academy of Dramatic Arts in New York,
but five months after she left home, Grace
was fully supporting herself, room, board,
tuition and nylons — and she was just
turning nineteen.
To become self-supporting, Grace stayed
awake and worked many hours every day.
From nine to one she was in school. Until
early evening she modeled or she went
through the grueling task of marching from
agency to agency being interviewed for
future jobs. In the evenings, she studied
and prepared for the next day’s classes.
“I was a glutton for punishment,” Grace
says.
Her work at the academy didn’t suffer.
Her acting in a play at the academy was
so exceptional that a talent scout recom-
mended her for a studio contract. Came
summer and she had earned herself a rest
in the family’s summer home. The house
is on a New Jersey beach where ocean
surf tickles your toes and cool sea breezes
make sleep possible. Grace didn’t even
get down there for a long week end. In
the oven of Manhattan she modeled furs
and woolens for fall buyers. While most
of the gals booked out for long week ends,
Grace worked six days a week.
Grace modeled through her second and
last year at the academy. Even when she
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began to pick up dramatic parts with reg-
ularity she continued to pose pretty. She
won a part in a Broadway play that had a
three-month run and still worked through
the day as a model. It was only when she
began to get television parts by the score
that she had to give up the hatbox.
“I learned things as a model,” she says.
“I learned something about what to do in
front of a camera. I learned what kind
of clothes were best for me and how to
wear them. I learned to stay on my feet
until my head hurt.” She recalls, “You
know, I think the hardest part of modeling
was staying well-groomed all day. You
might have your first appointment at nine-
thirty in the morning and another job in
the later morning and maybe a couple more
in the afternoon. When you showed up
for the last job at four you had to look
as if this were the first of the day.”
She progressed from $7.50 to $25-an-
hour jobs. She wasn’t merely a good-
looking girl, but she had sense and poise
and endurance. And the work was de-
manding. There was the suntan lotion
poster she posed for. She was in a swim
suit and the photographer had her stretch
out backside up. Then he had her raise
her head from the waist so that she slanted
up at approximately a twenty-degree
angle. “If anyone thinks twenty-five dol-
lars per hour is overcompensation for such
work, let her try to hold that pose long
enough to get several full-color shots,”
comments Grace wryly.
Although the Kelly face and figure
graced the cover of many magazines —
repeating three or four times on several
— she learned, too, about the inconsistency
of human judgment. One photographer
complained about her leggy look and
another looked and liked. One would
pose her and then order, “Close your
mouth. Don’t smile. Don’t ever smile.”
And the next day, another photographer,
“Not so glum, girl. Show your teeth.”
It was something like that when she
auditioned for producers and directors.
Grace at nineteen had reached her full
growth of five feet, six and one-half inches,
all of it fair and beautiful, with a couple
of bright blue eyes and corn-blond hair.
But in the theatre they gave her a hard
time. She was told that she was too young
for a character part. She was too pretty
to be anything but an ingenue. She was
young enough to be an ingenue but too tall
for that. And then she found a director
who wasn’t bothered by her height and
was impressed by her reading. He turned
her down saying, “You look too intelligent.”
Finally, she won a part in a Broadway
show, “The Father,” and much to her sur-
prise she wasn’t cast in the title role. Ray-
mond Massey had that part and Grace was
appropriately his daughter. The play ran
three months and led to her first screen
role in “Fourteen Hours” in 1951, another
play, a short-lived one; and then little
Grace Kelly, just out of the city where
they cracked the Liberty Bell, had as
leading men in rapid succession, Gary
Cooper, Clark Gable, Ray Milland, James
Stewart, William Holden, Bing Crosby,
Stewart Granger and Cary Grant. All in
less than a couple of years and all so re-
cently that some of the pictures aren’t yet
released. It sounds easy. It wasn’t. Even
Grace couldn’t keep count of the dozens
upon dozens of auditions she didn’t pass
before the breaks came her way.
“You go to the audition. You wait your
turn to read. You’ve been turned down so
many times before that you say, ‘Oh,
please, God, let this be it.’ This one is
the important one. And you wouldn’t
get it and you had to forget it and try
another. You had to forget it right away.
You just tried another. Every one was im-
portant. A young actress has to have more
bounce to the ounce than Pepsi-Cola.”
Grace, in those days, was proving she
had been properly prepared for certain
problems of an actress. She had stamina !
and determination and she wasn’t dis-
couraged by criticism and failure. She
demonstrated a capacity for work and a
willingness to learn. Grace gathered these
traits from the same woman from whom i
she derived much of her charm and beauty,
her mother.
Mrs. Kelly believed in responsibilities for
children — Grace had chores. Mrs. Kelly [
was strict — Grace learned to be orderly
and organize her time. Mrs. Kelly said no i
when it was appropriate and did not hesi-
tate to correct — so Grace grew to be a
young woman who was neither rattled by
criticism nor broken down by refusals.
These were some of the things that were
important to Grace along with the make-
believe fun and parlor games that her ,
parents encouraged and participated in.
But when Grace went to the academy, at
the age of eighteen, she had already ac-
quired a trait most important to an artist,
self-discipline.
“Discipline is getting up at six a.m. in
Hollywood when you’d rather be in New
York waking at eleven. Discipline, too, is
learning something new and strange or
refusing a second piece of cinnamon toast.
Discipline is not putting things off until
tomorrow.” Grace Kelly feels strongly
about this last point. “If today is for buy-
ing spring clothes, you buy them. If now
is the time to take singing lessons, you
take them now, not next year. Next
year you can take singing lessons, too, but
they are next year’s lessons. There’s a
time for everything.”
But sometimes, even for Grace, there’s
not time enough. When Grace came to
Hollywood for “Dial M for Murder,” she
hardly had time for a second breath before
she was at work on “Rear Window,” “The
Country Girl,” “Green Fire,” “The Bridges
at Toko-Ri,” and “To Catch a Thief.”
“When you’re working on a film, you
put everything into it. For months at a
time. You lose yourself in the work.
Then, when it’s over, you try to catch up
with your other self, the part that’s not
the actress. You try to catch up with the
part that’s a private citizen, a daughter
and sister, a friend.”
This past fall, after six pictures, Grace
had her first real vacation. She spent it in
New York and Philadelphia with her
family and friends. She played tennis
several times a week. She got a lot of
sleep — ten hours a night when possible.
She took singing lessons.
She already speaks French and Spanish.
But she is still studying them. She
recalls with little pleasure the feeling when i
you’re not prepared.
“There are all kinds of nervousness.
When I was eleven and got up on a stage,
it was all gravy. For a child it was won-
derful having all those people watching.
It wasn’t until I played Peter Pan in our
graduation play. That was in Philadelphia i
and I was about sixteen. I think that was |
the first time the nerves came along — and
that was more nervous excitement and it
lasted just until the curtain went up. It’s
not that you’re afraid, it’s just that you i
can’t sit still waiting for things to start.” ;
And then there was the one time it was a i
different kind of nerves. “I was to do
a song and dance on Ed Sullivan’s ‘Toast |
of the Town.’ Well, a song and dance
wasn’t my specialty. I was scared. I
didn’t want to go on. That was the worst
time I’ve ever had.” She mulls a bit and !
goes on, “You do have this nervous ex- j
citement — the good kind — in making a
movie, too. The first few days on a set
you have it and then, too, when you’re
doing an important scene. When we were
filming ‘The Country Girl’ we did two
important scenes one right after another
82
ad that gets you up for a long time,
he continuous intensity for days at a
me is something. You feel it.”
It is obvious that she takes her work
jriously, but she has never sacrificed her
ignity and personal integrity.
“You can’t be afraid of what you believe
i ” she says. “You must be true to your-
3 If.”
And while she is in earnest and has been
1 earnest about her career, having pre-
ared for today, preparing for tomorrow,
irace acknowledges the element of luck.
“Look, I remember I had two scripts to
hoose from. One was ‘Rear Window.’
can’t tell the name of the other script,
t wouldn’t be fair to the girl who took it.
tut I had to choose between the scripts and
liked them both. I wanted to do both,
was in my agent’s office and he said,
Decide!’ I couldn’t. I told him, ‘I want
oth of them.’ He said, ‘You can’t. You’ve
ot to decide on one. You’ve got ten
linutes.’ ” Grace smiles, catches a second
reath and goes on, “Well, if I hadn’t
hosen ‘Rear Window’ there wouldn’t have
een ‘Bridges’ and ‘Country Girl’ and
ie others. Who knows where I’d be? But
lat’s not the point anyway. Suppose I’d
ad to make that decision a few years
arlier. I wouldn’t have been lucky
ither way. I wasn’t ready.”
So if you want to be a star, a self-made
tar — first learn the Boy Scout motto and
len, like Grace Kelly, be smart and in-
ependent, hardworking, ambitious and
onest, lovely and considerate. And then
lere’s the matter of strength. If Grace
'.elly were a man — an impossible chal-
;nge to the imagination — but if she were
man, with her fortitude, her courage her
ecisiveness, and the right trainer — she
ould be a champ, a boxing champ of the
'orld — or just about anything else she
hose.
The End
*
TO REACH THE STARS
In most cases your letters will reach
a star if addressed in care of the
studio at which he made his last pic-
ture. If you have no luck there, try
writing to each star individually,
c/ o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Cal.
Allied Artists, 4376 Sunset
Drive, Hollywood 27
Columbia Pictures, 1438 N.
Gower Street, Hollywood 28
Samuel Goldwyn Productions,
1041 North Formosa Avenue,
Los Angeles 46
M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38
Republic Studios, 4024 Radford i
Avenue, North Hollywood 1
20th Century-Fox, 10201 W.
Pico Blvd., Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City
Warner Brothers Pictures,
4000 West Olive Avenue, Burbank
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PHOTOPLAY STAR FASHIONS
ON PAGE 65:
Jaunty Juniors suit
New York, N. Y. — Bloom ingdale’s
Town Umbrella
Washington, D. C.—
Julius Garfinckel
A. Fleischer Furs collar
At leading department stores
B. Deb Towners shoes
At all leading shoe stores
C. Marvells pearls
New York, N. Y. — Bloomingdale's
D. Enna Jetticks Shoes
Chicago, III. — The Fair
(downstairs store)
Cleveland, 0.— The May Co.
(downstairs store)
E. Fownes gloves
Philadelphia, Pa.— Wanamaker’s
F. Lennox handbag
At all fine department stores
G. Charm belt
At most department stores
H. Samsonite train case
At most luggage and department
stores
ON PAGES 66 AND 67:
Judy Nell suit
Brooklyn, N. Y.— Abraham &
Straus
Buffalo, N. Y. — Sattler’s
Cincinnati, 0.— Rollman & Sons
Grand Rapids, Mich —
Herpolsheimer’s
Loyal handbag
At most luggage and department
stores
A. Glentex scarf
Boston, Mass.— Jordan Marsh
New York, N. Y.— Saks 34th St.
B. Ingber handbag
New York, N. Y. — Saks 34th St.
C. Schaffer belt
New York, N. Y.— Saks 34th St.
D. Ciner bracelet
New York, N. Y.— Bonwit Teller
E. Grace Walker shoes
At all fine shoe shops
F. Aster roses
Wilmington, Del.— Braunstein’s
G. Dawnelle gloves
New York, N. Y .—
Oppenheim, Collins
H. Lucky Stride shoes
New York, N. Y.— Best & Co.
I. Sidney Gould sweater
Ft. Smith, Ark. — Arcade Stores
J. Flower Modes carnations
Newark, N. J.— Kresge’s
K. Coronet handbag
New York, N. Y. — Bloomingdale's
L. Phoenix hosiery
Chicago, III. — The Fair
M. Velvet Step shoes
At all leading shoe shops
N. H. & S. Originals ropes
Boston, Mass— Jordan Marsh
O. Charm belt
At most department stores
P. Aris gloves
New York, N. Y.— De Pinna
Q. MM handbag
New York, N. Y. — Bloomingdale’s
R. Flower Modes white violets
Newark, N. J. — Kresge’s
S. Huskies shoes
Denver, Colo. — Denver Dry Goods
Portland, Ore.— Meier & Frank
T. Glentex scarf
New York, N. Y.— Saks 34th St.
U. Jana tote bag
New York, N. Y. — Bonwit Teller
ON PAGES 68 AND 69:
Jerry Greenwald dress
Wash., D. C. — Julius Garfinckel
A. Jana handbag
New York, N. Y. — Bonwit Teller
B. Naturalizer pump
Washington, D. C.— Kann Sons
C. Baar & Beards scarf
Cincinnati, 0. — Shillito’s
D. Sperry ropes
Boston, Mass. — Jordan Marsh
E. MacShore blouse
New York, N. Y._
Franklin Simon
F. Charm belt
At most department stores
G. Fownes gloves
Philadelphia, Pa.— Wanamaker’s
H. Honeydebs shoes
St. Louis, Mo. —
Stix, Baer & Fuller
I. Ronay handbag
New York, N. Y.— Bonwit Teller
New York, N. Y.— Saks 34th St
J. Ingber handbag
New York, N. Y.— Saks 34th St
K. Trim-Tred shoes
At leading shoe stores
L. Paradise shoes
At all fine shoe shops
M. Fashion belt
New York, N. Y.— Macy’s
N. Coronet handbag
New York, N. Y. — Bloomingdale’s
0. Flower Modes violets
Newark, N. J. — Kresge’s
P. Aris gloves
New York, N. Y.— De Pinna
Q. Gotham Gold Stripe hosiery
Minneapolis, Minn.—
John W. Thomas
Washington, D. C. — Jelleff’s
R. La Tausca ropes
Chicago, III. — The Fair
ON PAGE 70:
Fashion Towne suit
Los Angeles, Cal —
Coulter Dry Goods
A. Crown weekender
At all leading luggage and de
partment stores
B. Rhythm Step shoes
New York, N. Y. — Stern’s
C. Aster white rose
Wilmington, Del.— Braunstein’s
D. Marvella pearls
New York, N. Y. — Bloomingdale's
E. Wear-Right gloves
Chicago, III.— The Fair
New York, N. Y. — Lord & Taylor
F. Lennox handbag
At most department stores
G. Fashion belt
New York, N. Y. — Macy’s
H. Wohl shoes
At most leading shoe shops
I. Bur-Mil Cameo hosiery
Kansas City, Mo.— Macy’s
Portland, Ore. — Lipman, Wolfe
J. Coronet handbag
New York, N. Y. — Bloomingdale’s
Get With It, Kids!
(Continued from page 51)
went by, the fund grew, and so did the
fun! I’m only sorry that I didn’t get started
sooner. But let me tell you about it. . . .
Acually, enjoying life is strictly a mat-
ter of becoming interested. In what? In
anything, in everything.
Today, when people ask me what I do
with my spare time, I’m likely as not to
reply, “What spare time?” When I’m not
making movies, I paint. I build model
boats, listen to records on my Hi-Fi set,
practice fencing, keep up with the latest
tricks in magic. I take pictures, cut tapes
on my tape recorder, read books and
scripts, travel — among a few dozen other
things. Recently, I’ve taken up the clar-
inet. And when do I relax? Well, start
this paragraph again. That’s when!
What about you? Are you ever bored
with life in general? Do you feel that you
have a humdrum routine of living? If
you’re in school do you consider yourself
a martyr when you have to open a text-
book? If you work, do you idle away your
off-hours, perhaps not even bothering to
wonder what to do?
Everyone has some time on his hands.
Today, teenagers have more than ever be-
fore. Today, they’re able to make more
money from part-time or full-time jobs.
And I wonder what they’re doing with
those precious extra hours and dollars,
though neither may run into the thou-
sands. What are they doing with their
lives? Wasting them? Or getting the most
out of them?
Sit back in your chair for a moment.
Now, begin listing for yourself all of the
interesting things in this world. Things to
be seen and done. Things to be read and
listened to. Places to go. What do you
know about them? What are you doing
about them?
How do you begin? Interests are some-
thing you have to discover for yourself.
And you discover them only as you find
out about yourself.
What kind of a person are you? Do you
like group activities? Or do you prefer to
spend your daily free moments alone?
Had you rather be indoors or outdoors? Do
you like something that has to do with
your work or your studies? Or would you
just as soon get away from them alto-
gether? It’s entirely up to you.
Have you ever had a yen to paint? Why
not try it, then? You’re fairly certain you
have no talent, but would like to dabble
anyway. Go right ahead. If you feel strong-
ly enough about a scene to want to at-
tempt to capture it on canvas, the feeling
is what counts. When you look at the
finished product, you’ll also see the scene
you saw when you were inspired to paint
it. It’s for your own pleasure.
I first took up painting when I was in
school. My initial effort was titled “Por-
trait of a Toothache.” I must admit that it
was realisic. I’d heard the theory that an
artist must suffer slightly. And I had. Con-
sequently, I painted the experience.
These days, I paint other things as well.
Portraits (I’ve progressed to people now),
landscapes, almost anything that happens
to strike my fancy. And I’ve found that a
great many other Hollywood citizens find
relaxation in this form of art — Van John-
son, Frank Sinatra, Jeanne Crain— to name
a few. Care to join us?
Another of my favorite interests is pho-
tography. After facing still cameras, I de-
cided to try my hand at shooting some pic-
tures of my own. And that’s how I became
what is known as a shutter-bug. It’s a fas-
cinating hobby and you find you can
never seem to learn all there is to know
about it. First, perhaps you’ll be content
to merely click the shutter. But it won’t
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be long before you’ll experiment with
camera angles, all tangled up in lighting
effects, reading every photography maga-
zine you can get your hands on.
I’ve been lucky in having the advice of
some experts who come around to shoot
magazine layouts. But there’s a photog-
rapher in almost every town. Why not
ask him for some tips on his trade? Look
around for others who are interested and
start a camera club, or a class, with the
professional as professor! In talking things
over, comparing your work, you can im-
prove it.
In larger cities, you’ll find night schools
which offer these courses. And remember,
you don’t necessarily have to have an ex-
pensive camera. Just learn to get the most
out of the one you do have.
This hobby shouldn’t stop with the
shooting of pictures. If you want to really
follow it through, there are companies
that put out developing sets for a very
small price. Your darkroom? Many a bath-
room has been converted to this use. And
then comes printing, which is an art in
itself. Try it, or stand by while your local
photographer is going through the paces
and you’ll see what I mean!
Do you like to travel? Actors get around
a lot on personal appearance tours, but
everyone can heed the call of the open
road. You needn’t cross the country or an
ocean. There’s undoubtedly something of
interest within a few miles of your home.
And the joys of sightseeing are all yours.
I’d be willing to bet that there’s also
something to be seen and learned in your
own home town. In mine, New York, I
used to visit bits of Germany, Spain, China,
Sweden, France. There are so many na-
tional groups in cities that it’s like having
a bit of the old world transported to your
doorstep. These people bring with them
their customs, their food, their workman-
ship, memories, atmosphere.
You prefer to stay at home? Well, there’s
reading. And there’s writing. Writing is
one of the best ways possible for a person
to express himself, be it by typewriter
or pen or pencil. Here, again, is something
for your own enjoyment. Perhaps you’ll
find a market for your literary efforts,
perhaps not. However, if you feel some-
thing strongly enough to put it on paper,
it’s highly possible that it will interest
others, too.
Also there’s letter writing. There are
pen-pal clubs which can put you in touch
with letter writers all over the world.
These folks exchange thoughts and ideas,
give one another an insight into the lives
and customs of both far away and nearby
places and people.
There’s collecting. Everyone collects
things, more often than not quite uninten-
tionally. So why not be specific about it?
Collector items include almost everything
under the sun: stamps, recipes, books,
matchcovers, buttons, knicknacks, records,
autographs, and loads more.
Rock Hudson is one of Hollywood’s
greatest record enthusiasts, and we’ve
come to agree that it’s sort of a fraternity.
For instance, when Rock was abroad, he
made a point to stop in at record shops
with the idea of adding to his collection.
“There I was,” he said to me, “in a strange
country, a strange town, knowing so very
few people, yet the minute they knew
that I had a sincere interest in their
music, you’d have thought I was a long
lost brother!” Not only did he make friends
he otherwise might never have met, he
also brought back some of the greatest
discs I’ve ever heard. He can enjoy them
and remember his trip for years.
A while back, I mentioned night school
classes. If you are fortunate enough to
have some of these in your city, why not
see what they have to offer? Out here,
Hollywood High provides instruction in
such varied subjects as drawing, painting,
home decoration, woodcarving, ceramics,
sewing, upholstering, rug making, cooking,
languages, business — even lip reading! If I
you don’t have the advantage of an avail-
able night school, strike out on your own.
Find others who are interested in a spe-
cific activity, locate an expert and begin
your ^ own class. Surely in your town
there’s a gal who is clever at whipping up
her own creations and it’s my guess that
she would welcome the chance to teach
others. The same holds true when it comes
to cooking.
In classes, you may obtain a mint of
knowledge. And never underestimate their
value, even if the Board of Education is
currently forcing you to attend them! I
speak from experience. Take a fairly re-
cent occurrence, for instance, “Bon jour,”
said the Captain.
“Bon jour,” I said jovially. French? So
far it was a cinch.
In a few moments, Janet and I were
seated at a table by a window with a view.
Then the waiter arrived to hand us menus.
“Soyez les bienvenus,” he said.
“Would you like some?” I asked my
wife.
“Some what?” she wanted to know.
“Some soyezbienwhateveritis,” I said.
“Maybe it’s like vichyssoise.”
“Tony,” she grinned. “I think he was
saying welcome.”
“Oh,” I said, deflated. “Merci,” I told
the waiter.
As you may have guessed, Mr. and Mrs.
Curtis were enjoying a visit to Paris. A
few years before, Mr. Curtis would have
thought a visit to the moon more likely.
Paris was in songs and novels and day-
dreams. Oh, it was in textbooks, too. But
these I had gone to great lengths to avoid
when I was exposed to them in school. I’d
had my choice between French and an
easier subject. As far as I was concerned
at the time, there was no choice. After all,
my immediate friends spoke Bronx to me,
and I wasn’t going anywhere.
I never thought I’d voluntarily go out
and buy a book of French grammar and
spend hours pouring over it. And what did
Curtis do? He studied French avidly, of
course.
Don’t laugh. Perhaps it does seem fan-
tastic, but if something similar happened
to you, would you be prepared? Get with
it, kids!
You don’t have to be in movies to learn
from them, however. Motion pictures can
be your springboard, too. And chances i
are, you’ll land right in the middle of the
bookstacks in your local lending library.
For instance, you liked the film adapta-
tion of the Hemingway book? Well, the
rest of his novels are awaiting you on your
library shelves. And just what were those
Yankees trying to prove to Miss Scarlett ?
You’ll find this answer and many, many
more — in both fact and fiction sections.
See a picture which has some connection
with your studies and you’ll find that
you’ll have a far better and more colorful
conception of the time and the people.
Your textbooks will come to life as you
picture the historic characters and places
in your mind.
Try concentrating upon the background
musical score in a movie sometime, if
you’re fond of music. You’ll soon realize
how important it can be. And if you don’t
have an appreciation of certain kinds of
music, it’s likely that you soon will. One
of my buddies spent a long time ignoring
the classics. Then his ear caught part of
the score from a Joan Crawford film. He
couldn’t get the tune out of his mind,
thought it was the greatest. He tracked
it down. And after humming it a few times
for record salesmen, he finally got the
melody across. Turned out to be from an
opera, the likes of which he thought he’d
never enjoy. Today, he’s enjoying a brand
new record collection in a brand-new
field of music.
Interested in interior decoration? Note
the sets in the next picture you see and
pick up a few ideas for your own home,
apartment or room. Motion pictures em-
ploy the very best technicians and you
have the advantage of seeing the work of
experts. The same goes for the field of
designing. The studio designers necessar-
ily have to keep ahead of the styles, as
release dates may be held up. And you
may be certain that you’re seeing the
smartest gowns. Take a few tips from
those in the know. They’re yours for the
price of admission. Find the star who
has your type of figure and follow her
lead in shopping for yourself.
Your interests can do many things for
you. For one thing, they can make you
the life of the party, when it comes to
entertaining a crowd. Take magic; I did.
And although I didn’t study the tricks of
this trade for the purpose of attaining so-
cial success, I have found it extremely
useful whenever I’ve done personal ap-
pearances. And, of course, when I’ve been
asked to perform at parties, I’ve been able
to oblige.
I first began to study the fundamentals
of magic when I was making “Houdini.”
I started with the simple tricks and then
progressed to the more difficult ones. Why
not try it yourself? You’ll soon discover
yourself developing your own style, as
does everyone, and you’ll also find it very
gratifying. Or, if you prefer, pick up some
books on handwriting analysis or palm
reading. You’ll be the answer to dozens of
hostesses’ prayers.
You don’t have to have interests in com-
mon with everyone else, to follow the
herd, so to speak. You can appreciate
those of others, and they can appreciate
yours. Mine and Janet’s are different for
the most part. However, we both make a
point of encouraging one another. When-
ever I come home looking tired, she’ll grin
and say, “Go play with your records or
build a boat.”
Whenever I think she should relax, I
toss her a crossword puzzle book and say,
“Get to work, right now.”
People can lead you to interests. Have
you ever met someone who’s so fascinated
by a particular subject that you find it
exciting to simply sit and listen? Have
you found yourself becoming so carried
away with this subject that you want to
learn more about it? Then, by all means,
do. That’s how I acquired my Hi-Fi set.
However, you don’t have to spend a
mint of money. Your city government,
your state and federal governments real-
ize the importance of boys and girls, men
and women being able to do something
constructive with their leisure time. That’s
why they’ve provided parks, and play-
grounds, tennis courts, golf courses, swim-
ming pools, libraries, adult education
courses for the benefit of all of us.
And it’s my theory that every one of us
should take advantage of some of these.
Interests lead you to people. They en-
able you to help people. Your activities
might include volunteer work for your
local hospital, social service work helping
to raise money in charity fund drives.
They lead to good citizenship. Political
parties welcome campaign volunteers and
then, too, you can see what goes on in
the political arena.
Interests can lead you into careers. And
into marriage. Mine did. And Janet and
motion pictures have made me the happi-
est guy in the world.
Well, that’s my secret. But I’m not ask-
ing you to keep it to yourself. In fact, I
hope you’ll spread it around.
The End
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Cupid on the Rampage
( Continued from page 58)
to marry,” was giving lessons in her lan-
guage to the doctor’s kids. Marlon re-
turned to Hollywood when Josanne
agreed to accompany him back to 20th
Century-Fox, which is probably why he
agreed to play Napoleon in “Desiree.”
I guessed the romance was serious when
Marlon told the press agent on the picture,
“I don’t want anyone to know that Jo is
on the set with me.” Try and keep a secret
in Hollywood! Funny thing was that be-
fore Brando took flight to New York, he
was trying to date Rita Moreno. One girl’s
loss is another’s fiance.
Falling in love is sometimes just a ques-
tion of timing. If Rock Hudson had met
Vera-Ellen for the first time today, he
would be married to her, instead of she
being Mrs. Victor Rothschild. “I was en-
gaged to Vera,” Rock told me when we
discussed the news of her marriage to Vic-
tor. “But I was making $150 a week then,
and she was earning something like $1500.”
Rock is now collecting something like
$2500 a week, but he could never be the
kind of man to let a girl pick up the check.
And as he explained to me at the time of
his break with Vera — “I don’t blame her
for wanting to go to Ciro’s, Romanoff’s and
the Mocambo. It’s important for her ca-
reer to be seen in the right places. But I
couldn’t take her there on my salary.”
Rock has no dinner-tab worries now, but
he’s happy dating scriptgirl Betty Abbott
anyway.
When Dick Gully went to Europe, Vera-
Ellen promised to follow him just as soon
as she lined up a picture. She lined up the
picture all right, but before she could fly
to Dick, Cupid took a hand — or rather
Johnny McKee, who took her to play ten-
nis at Jerry Ohrbach’s home. Vera was a
swimmer, not a tennis player, and I was
surprised when she gave up those hundred
laps a day and suddenly started hitting
tennis balls like a girl with a mission. Well
it seems that Victor is a crack tennis play-
er— she met him at Mr. Ohrbach’s that day
— and the quickest way to a tennis player’s
future is to beat him at his own game!
Of course, now they are Mr. and Mrs.,
Vera has probably given up the game and
gone back to swimming. Like Lauren Ba-
call who loved the briny for Bogart’s sake
before their marriage, but then raised her
own Caine Mutiny and hasn’t set foot on
the “Santana” for the past five years. And
Rita Hayworth, who might never have
married Prince Aly Khan if she hadn’t
pretended to adore flying. That’s why she
loves Dick Haymes. She has never had to
pretend anything with him.
Guy Madison was tired and depressed.
His career was tops, but his private life
added up to nothing. To cheer him up, his
always-happy agent, Helen Ainsworth
said, “How about taking me to the Sports-
men’s Show at the Pan-Pacific?” “Good
idea,” said Guy who isn’t one to mope if
there’s something better afoot. Someone
introduced him that night — he’s still too
excited to recall whom — to Sheila Connolly,
a happy mixture in looks of Elizabeth Tay-
lor and his ex-wife, Gail Russell. Guj
asked -Sheila, “Will you have a cup ol
coffee With me?” From that moment or
she was the only woman in his life. And il
looks good for their future. Sheila, whc
was stirictly an indoor type, is now forcing
herself to love the wide open spaces Gu>
adores.
With, Sarita Montiel, leading lady foi
Gary Cooper and Burt Lancaster, it isn’1
Cupid who's on the rampage — she is. “]
love yotir beeg country, I love your beeg
cities, I love your beeg men,” she told me
adding,, “I love making love to Americar
actors. When you kiss Spanish men, they
act like their wives were on the set.’
Sarita, who prefers her lovers on the bald
side, dbesn’t care for men under forty—
“They’ire still boys.” Incidentally, in case
middle -aged American men are planning
anything, this Mexican tamale is reported-
ly having a hot romance with her Mexi-
can agent, Juan Plaza.
“I’m Pat Nerney. I don’t think you re-
membeo- me, but I’d like to take you to
dinner.?’ Jane Powell was thrown off base
by thiis polite and unconventional ap-
proach,, and after replacing the receiver,
realized she had said, “Yes.” A week
earlier and it would have been “No.” Bui
Gene Nelson couldn’t or wouldn’t get a
divorce, and with Janie it’s always been
all or nothing. So she made a clean break
with 'Gene. She might still have beer
married to Geary Steffan, however, ii
Metro hadn’t loaned her to Warner Broth-
ers for “Three Sailors and a Girl.” As you
know, Gene was one of the sailors. And
this sailor wanted Powell in every port.
Now it looks good for the reconciliation
with Miriam, his choreographer and best
foot forward.
Cupid sometimes finds it rough sailing
with Pilar Palette and John Wayne who
are na.vigating the seas of matrimony to-
gether, Pilar is an amateur photographer
and whenever the tiny Peruvian has an
argument with Big John, she sidles close
to her man and threatens, “Duke, you lis-
ten to me, or I’ll take a very unfavorable
picture of you.” He listens.
Doe- Avedon, who played the pretty air-
line hostess in John Wayne’s “The High
and the Mighty,” is quiet and unassuming,
and Cupid is having one of his few cur-
rent failures with the attractive actress.
Doe took her last name from her first
husband— a photographer. She was driving
to California with her second mate with
whom she was very much in love, when
their car was sideswiped, and her hus-
band was killed. Many men call, but few
succeed in dating this girl who lives alone
with Bier cat and is practically a recluse.
Anrue Baxter was looking for a press
agent, and came up with a fiance. Also a
new rigorous diet that brought her weight
down to 105 pounds and a 21-inch waist.
The ■press agent, Russell Birdwell, now
Anne’s manager as well, used to try to
shame me into reducing by saying, “The
most unimportant starlet can do it, so why
can’t you?” I’d leave him full of high
starv ation resolves — until the apple pie
You won’t want to miss the MARCH issiae of Photoplay, for when
two gals decide to talk — about their personal friends — you can bet
you’ll get the facts . . .
• Debbie Reynolds' school chum giives you the low-down on My
Friend Debbie
• Audrey Hepburn’s real intimate stctry as told by long-time friend
and woman columnist Radie Harris
Both stories in the March issue, to be on sale February 8
88
J
fccmrse. I was a goner. But Anne got this
Bird and the figure.
It’s this way-that way with Ann Sothern
and Bill Andrews. Anything, matrimonially
speaking, can happen here. It might have
been a marriage with Dick Egan — only he
was too poor at the time of their con-
flagration. Ironically, now that the blaze
is over, Dick is making a hundred thou-
sand dollars a year and is in a position to
wed. And Marisa Pavan mightn’t say “No,”
if he asked her. But to get back to Miss
Sothern. Cupid slings his arrows in the
strangest places. Annie caught hers in Las
Vegas with her night-club act. Bill was
one of her five chorus boys but he gradu-
ated to choreographer for her “Lady in
the Dark” tv spectacular. And he might
even get his MRS. with Ann.
Going down for Cupid’s count as we go
to press — Betty Hutton and Alan Living-
ston, Mitzi Gaynor and Jack Bean, Eleanor
Parker and Paul Clemens and Clark Gable
and Kay Spreckels. Every time Clark gets
a divorce, he swears he’ll never marry
again, but he always does, and blond beau-
tiful Kay is exactly his type — witty, easy-
going, sophisticated. They were buddies
before his marriage to Lady Sylvia, who
is also riding on Cupid’s bandwagon to
add a Prince to her collection of two titles
and two movie-star husbands.
There was a story printed this morning,
not by me, that Eleanor Parker was spat-
ting with Paul. But she assured me, “We’ve
never had a cross word since we started
going together.” And that started when
Eleanor asked the William Holdens, “D’ye
know a good painter to do my portrait?”
They introduced her to Mr. Clemens, and
to date, he’s painted five portraits of the
woman he loves — and made his wife.
Cupid performs his miracles in many
i fashions but one thing’s for sure — here’s
one guy who’ll never give up on love.
The End
Kirk's Island of Safety
( Continued, from page 52)
foreign films — on pictures shot in France
or in Italy with English-speaking actors —
and arranged and coordinated the Cannes
Film Festival. Kirk left France soon after
“Act of Love” was completed and did not
see her until a year later, in Rome, where
he was locationing in “Ulysses.” Anne, by
some good fortune, was working as lan-
guage coordinator on the film, too.
“We got together and soon began seeing
each other as frequently as possible all
during the filming,” says Kirk. “But after-
ward, when I left to return to Hollywood
I had no plans for the future — although I
did know how much Anne meant to me.
“All I knew was that I wasn’t going
back to Hollywood — not to live. I’ll com-
mute, between Paris and Hollywood,
Rome and Hollywood, perhaps New York
and Hollywood, but never, for me again,
life in Hollywood.
“Never is, of course, a ridiculous word.
For I did come back, and to one of the
most moving experiences in my life.” For
in Las Vegas, Nevada, on May 29, 1954,
Kirk Douglas married Belgian-born Anne
Buydens and in so doing landed on what
he describes as “The Island of Safety I’ve
been trying to find all my life.”
For the four years prior to this marriage,
Kirk had been, by his own admission, in
kind of a bad way. Not careerwise, as his
recent pictures “Act of Love,” “Ulysses,”
“20,000 Leagues Under the. Sea,” “Man
Without a Star,” “The Racer” can attest.
The trouble was within himself.
Previously married to actress Diana Dill
and the father of two sons, Michael, ten,
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Free Samples and details supplied. Write Studio-Girl, Dept.
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HOME WORKERS. MAKE hand-made moccasins. Good
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WOMEN. SEW READY-Cut Wrap-A-Round, spare time —
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ENJOY EXTRA INCOME sewing Baby Shoes, Dresses for
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OLD COINS & MONEY WANTED
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WE PURCHASE INDIANHEAD pennies. Complete allcoin
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STAMPS
FREE SCOTT’S INTERNATIONAL Album. Other pre-
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FIRST U. N. SET. Among World’s Prettiest. Only 10c.
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77 DIFFERENT U. S.— 25c Approvals. Leonard, 1143X
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EDUCATIONAL OPPORTUNITIES
COMPLETE YOUR HIGH School at home in spare time
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AGENTS WANTED
RUN A SPARE-Time Greeting Card and Gift Shop at home.
Show triends samples of our new 1955 All-Occasion Greeting
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ADD TO FAMILY income. Unlimited earnings. Work in
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No canvassing or experience necessary. Halliday, 17-B
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SHINE CARS WITHOUT “Polish.” New invention.
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COLOGNE SPRAY, SELL friends, cost $1. Sells $2. Send
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HEALTH & MEDICAL SERVICE
FREE BOOK — PILES, Fistula, Colon-Stomach, associated
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OF INTEREST TO WOMEN
FASCINATING SPARE TIME piece work I No selling 1 We
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$200.00 OR MORE paid by Advertisers for Children’s Pic-
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FREE $72 WORTH of famous name electrical appliances,
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MATERNITY STYLES— FREE Catalog (Plain Envelope);
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SEW OUR READY cut aprons at home, spare time. Easy,
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HOME SEWERS NEEDED! Instructions, Cash Markets
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SEND OUT POSTCARDS. Cash daily. Bicorp, 143 Belmont,
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PROFITABLE HOME BUSINESS. Make Fast-Selling
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GET OWN DRESSES as Bonus and make extra money
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MAIL ORDER CATALOG
FREE SPRING CATALOG— Aldens 612 page 1955 Fashion
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CARTOONING & COMMERCIAL ART
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32 FULL COLOR gorgeous 8!4* by 11' portraits, Mariiyn
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MORE CLASSIFIED ON PAGE 90
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Joel, seven, Kirk and Diana were divorced
in 1950. And after the divorce came the
restless life, for Kirk, of the rolling stone,
homeless, often lonely. “Sometimes on the
mad merry-go-round that is even worse,”
he says, “than loneliness.” He was con-
fused. The confusion was of a man who
has lost his way.
“I was in a constant state of flux be-
tween elation and depression,” Kirk today
describes his past troubled state of mind.
“My confusion began,” Kirk admits,
“right after I made ‘The Champion.’ I
was very depressed, yet I couldn’t think
why. In this picture I was, and I quote,
‘catapulted to stardom.’ Thanks to pro-
ducer Stanley Kramer, who gave me the
opportunity to play that atomic role.
“The point is that I had made a number
of pictures, six in all, before I made ‘The
Champion.’ I had worked like a man
possessed in each and every one of them
and although I got good notices in all of
them, and particularly in ‘The Strange
Love of Martha Ivers,’ my first film
which starred Barbara Stanwyck, I wasn’t
a star. No one really noticed me until after
I made ‘The Champion.’ After ‘The
Champion’ everyone noticed me and with
a suddenness like the sharp upgrade of a
roller-coaster. Everyone said I’d ‘changed.’
The intimation, on one hand, being that
the change was for the better; on the
other hand, quite the opposite. I hadn’t
changed. I haven’t changed now. Except
I’m seven years older.
“Being told I’d changed was a contrib-
uting factor in my state of confusion but
not enough, of course, to account for my
depression. After all, people were talking
about me, weren’t they? Writing about
me. The spotlight was on me. What more
does the ham in every actor crave? More
flatteringly (and remuneratively), scripts
were coming in. Fan mail coming in. Con-
tracts offered (‘Write your own ticket’),
photographers and reporters training their
lenses and pens on me. The ‘full treat-
ment.’
“All my life I’d dreamed of this, of be-
coming an actor, a successful actor, and
here it was, come true. But in attaining
the dream, I had lost the dream.
“How? When? Where? Most of all, why?
I asked myself. I probed the questions. I
did a lot of self-analysis and I finally came
to the conclusion that nothing in life is as
fabulous as you dream it. This is a truth
we should all anticipate and for which we
should all be prepared. I hadn’t antici-
pated it. I wasn’t prepared to face it. I
didn’t face it. This was my trouble.
“My dream of becoming an actor had
been an adolescent dream, a romantic
dream of playing exciting roles to thun-
derous applause, my name in lights; a
rags- to -riches dream of dwelling in mar-
ble halls.” For a fraction of a moment
Kirk’s lips tightened, then he went on,
“A Hollywood hacienda with all the trim-
mings. I had not visualized the hard work
that must be done, the mad race that must
be run before this halcyon state of affairs
can come to pass; if, indeed, it ever does,
or can.
“I had run that race in the beginning,
every day a mad race to get a job, a part
in a show, a part on radio, one radio show
to another — a race, literally, to get some-
thing to eat. In-between shows, any job
I could get (part-time work at Schrafft’s
Restaurant, anything), in order to eat.
“I was used to working, you know, it
wasn’t that. As a kid, in my home town
of Amsterdam, New York, a constant
shortage of cash in the family till and a
minimum of food in the icebox made me a
wage earner while I was still in grade
school. At five every ' morning I rose to
deliver papers before school and raced
from my last class of the day to deliver
the evening papers. I used to count myself
lucky if I was through my labors by seven
o’clock. After graduating from high school
I spent the following year working in an
Amsterdam department store in order to
earn money for college. At the end of the
year I took my savings, totalling $163, and
hitch-hiked to St. Lawrence University in i
Canton, New York. The final stage of my
journey still amuses me — I arrived atop a
truck filled with fertilizer! Thanks to a
part-time job as a waiter I managed to
graduate with an A.B. degree and with a
record as undefeated intercollegiate wres-
tling champion for a period of three hard-
fought years — which stood me in good
stead when, later, I barnstormed with a
carnival as an exhibition grunt-and-
groaner.”
(Stood him in good stead as the mus-
cular and mighty Champion, too.)
“Yep,” Kirk said, “I was used to work-
ing and, although I was the only boy in a
family of six girls, I was not used to any
coddling and spoiling. No time in our fam-
ily for anything softer than,” he grinned,
“hard work.
“But poor boys dream tall dreams —
taller dreams than luckier boys. They
dream of rags-to-riches. My dream was of
becoming an actor, a successful actor
which, when accomplished, would mean
that the race was run, the struggle over.
“When it wasn’t over, when even after
I’d made ‘The Champion’ I was still run-
ning to find stories, material, still fighting,
still breathless, I was confused — this, be-
cause I wasn’t facing it, was the real cause
of my confusion.
“I used to work at one period of my
life in a steel mill. When I’d get through
an exhausting day in the studios, tough
scenes, things going wrong, I’d really feel
beat — much more so than I’d ever felt at
the end of a day in the steel mill. ‘What
price this dream, this lazy, luxurious
dream, of becoming an actor?’ I constantly
asked myself.
“All this,” Kirk said, “may be inter-
preted as a complaint. It isn’t. It is an at- 1
tempt at honest evaluation. And to be
honest, much of my exhaustion was my
own doing, my own fault. For my big
problem was that for so long I had had to
fight for everything I got, from enough to
eat to a college education, from ‘playing
the part’ of an off-stage echo in the
Broadway production of ‘Three Sisters’ to
the starring role in ‘The Champion,’ that
I went into every scene I played, fighting.
Attacked every scene I played like a lion
on the kill. When offers began coming at
me without any aggressive action on my
part, offers of parts and contracts, I wasn’t
geared for this sort of thing. I expected to
fight. That no one expected me to fight,
this was confusion.
“When I read my own publicity, some
very good indeed (too good for me), now
and then not so good, I reacted according-
ly— a word of criticism and the dukes
were up; a flattering word and a kitten’s
purr.
“Childish? You said it.
“In every actor there is, and there must
be, a childlike quality. This I’m sure of.
Look at me, a grownup playing,” Kirk
laughed, “Ned Land, the harpooner in
‘20,000 Leagues under the Sea.’ If I
didn’t have the childlike quality, I couldn’t
do it. Not without embarrassment, at any
rate, and not believably.
“No man is completely a man who has
lost out of himself all of the boy. Or, if he
does, he becomes a very dull human being.
It is also true if I begin to believe I am
Ned Land or The Juggler, or Dempsey
Rae the roving cowhand in ‘Man without
a Star,’ this would be sheer madness.
“In the same way an actor should not
believe all the good things written about
him, or all the bad. Just as he is not really
any role he plays, whether heel or hero,
COLOR
HAIR
RINSE
COtOR
HAIR
. RINSE
-
so he is not either heel or hero in real life.
In other words an actor should not react,
as the child in him is prone to do, by ex-
tremes, as I did, between elation and de-
pression.
“One neurosis I did escape, however,
and that is the fear, common to the actor
who has achieved ‘sudden stardom,’ that I
might fall from the pedestal. I hadn’t this
fear because ground and grained in me
is the theory that nothing lasts forever,
that everything is a cycle, so now as then,
I accept the fact that my success will not
last (as my poverty did not last) forever.
“I also believe that if you have the op-
portunity to compete, you should not
complain if you lose.
“As an actor, it’s a wonderful thing to
be in a position to play exciting roles, on
screens all over the world. In Israel,
where we made ‘The Juggler,’ kids ran up
and said they’d seen me in ‘The Bad and
the Beautiful’ — it was a thrill, as it was in
Rome, being stopped on the street by peo-
ple who told me they’d seen me in ‘The
Juggler.’ This part of the dream comes
very true. But as picture follows picture
and the sense of excitement mounts, the
sense of running accelerates, too. As one
is achieving one goal he’s already out, still
breathless, to make the next goal, until
. . . you begin to wonder what goal? and
why?
“I think it’s very true in this business
that everyone runs so fast and for so long
they forget what they’re running for.
“I did.
“When you are cut adrift from your
personal life,” Kirk feels, “the confusion
increases. To be accustomed all your life
to home life, family, routine, then sud-
denly, to be in outer space and alone, you
feel naked, vulnerable, lost.
“I did.
“After Di and I were divorced I felt a
stranger to myself, and in my own land.
Strangers never feel comfortable. Have no
base. Can’t relax.
‘“On the loose, eh?’ a few old goats
would say, goatishly, poking me in the
ribs. ‘Playboy, eh? How lucky can you
get!’
“But playboys are born, I’m convinced,
not made. Nothing in the tough dog-eat-
dog life I’ve lived, as boy and man, con-
ditioned me for the playboy role. Nor
anything in the close family life I’d lived
as a child and, later, as a husband and
father.
“As for being ‘lucky,’ you look around
at every so-called playboy dating all the
glamour gals and they are either unhappy
or something is wrong with them. Some-
thing damned serious is wrong with them.
For the playboy routine is a mad merry-
go-round from which you never get off
and on which there is no time to develop
a real lasting relationship.
“I know about the mad merry-go-round.
I was on it and I had it. Even while on it
I knew that for all the flaws there may be
in marriage, there is no institution to re-
place it.
“In this business more than in any other,
a man needs marriage. An actor, who is
exposed to so much, needs marriage more
than another man; needs the island of
safety only to be found in a solid human
relationship.
“I need it,” Kirk says.
“Without it I was a miserable guy.
When I was in Europe, making ‘Act of
Love’ and ‘Ulysses,’ I was a less miserable
guy. The more leisurely pace of Europe
made me realize that to be a success in
the movies is a much tougher job than
anyone realizes, and that there is more
than one kind of success. Over there I had
a chance to evaluate myself. I was less
tired and had more time to be sort of ob-
jective.
“In Europe, looking around me, I
thought, I’m not going back to Hollywood,
never to live. Ever since I'd been living
alone, lonely and restless, my friends had
been saying, ‘Trouble with you, you’ve
been a rolling stone so long, too long for
your own good. What you need is a base.’
“I then returned from Europe to a base,
to the little one-story house my friends
bought for me through Sam Norton, my
lawyer, while I was abroad. Fanny Brice’s
daughter, Frances, did the decorating. All
my friends got together, Sam and his wife,
the Billy Wilders, the Ray Starkes, and
furnished it — down to the last detail of
food in the deep -freeze and toothpaste in
the bathroom.
“ ‘If you don’t like it when you walk
in,’ my friends said, ‘you can walk right
out again!’
“I liked it. I loved the way it was dec-
orated, all striking black and white. Liked
the big comfortable lounges and chairs.
The garden. The little swimming pool.
More than liking, I was deeply touched. I
didn’t know they cared. Not like this. Not
to the extent of taking all this time and
thought and trouble.
“I was happy to have a place of my own.
I’ve bought a few paintings. Many books.
I read a lot. People came over and found
me mowing the lawn. Friends came over
for dinner and I cooked for them —
barbecues mostly. I’m a terrible cook, but
I insist upon doing it.
“I thought about marrying again and I
invited Anne to Hollywood for a visit. I
knew even before she got here that she
would never go back — not to stay. We
both knew. There wasn’t much need of
words. The question had been asked, and
the answer given long ago.
“We were married and I,” Kirk laughed,
“am not running anymore. I used to be
like the fellow who ran through the coun-
tryside so fast he never saw the flowers
or the streams. I see them now.
“In my relationship to people I used to
be like a steamship ploughing through an
ocean, friends had to cling to you like
barnacles. I don’t want to be that kind of
a steamship. I’m not any longer.
“I’m through fighting. I’m no longer the
lion going in for the kill. When preparing
for a picture, I do all the research I ever
did, and more. But now I create, or try to;
I don’t fight.
“I’m calmer about my career, although
I’m as interested in it as I ever was. But I
no longer think of it as the be-all and
end-all. There’s less desperation.
“I don’t want to always just act. I want
to direct; want to be on the Broadway
stage again; hope for new fields, for
growth.
“And Anne, my wife, is interested in my
career. She helps me in many ways. Re-
cently, for instance, a German book was
submitted to me as a picture possibility. I
don’t read German. Anne does. She read
the book, told me the story. She knows
about my work. But she is not trying to
spur me on in my career. She is more in-
terested in me as a human being than as
an actor; more interested in my peace of
mind, in me. We are both interested in
growing together!
“For the present we plan to live here, in
this house that was going to be,” Kirk
grinned, “my little bachelor haven. At
least until we know what’s ahead, whether
I am going to do another picture in Eu-
rope, or where and for how long. Even-
tually we plan to build — when, where, as
yet, we have no idea. Actually, it doesn’t
matter — when you live on an Island of
Safety. ... I did say, ‘Nothing in life is
as fabulous as you dream it’ didn’t I? Well
I have one correction. The exception, said
bridegroom Douglas, is a happy marriage.”
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"I Want a Divorce . . .
( Continued from page 38)
out the carpeting— a warm beige design.
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They were sitting in the living room
looking at television. Dale was going into
the kitchen for a glass of milk when Jac-
queline stopped him, saying suddenly,
“Dale, I want to talk to you.” He sat down.
“All right. What is it?” he said.
Her voice was firm. “I want a divorce.”
Four words. Finally spoken for the last
time. The pause seemed longer than it
was.
“All right,” Dale said with finality, and
went to pack. An anti climax for a whirl-
wind romance and marriage. But divorce
had already become a familiar word, too
: familiar, before this final disenchanted
evening when Jacqueline threw in the
hand without waiting for the final cards.
The charge? Mental cruelty. Two words
which can’t cover three years any two
people in love share. Certainly not for
a man like Dale, to whom marriage and
home and family are meaningful words.
More restless, thinner by seventeen
pounds, as Dale says slowly now, break-
ing a too-long silence as the year ends,
“Divorce isn’t a word to be taken lightly.
Nor is marriage. Anybody can get a di-
vorce. That’s the easiest thing in the
world to do. The tough thing is to keep
sticking and work it out. Anybody can
fall in love overnight and get married,
too. But it takes time to make it work. I’d
i told Jacqueline the next time she men-
tioned divorce she’d better mean it. That
I didn’t want it thrown in my face all the
time. I said that because I wanted her
to think it over very carefully. Not just
every little thing that came up to start
talking about a divorce. I wanted her to
really think about it, weigh it and if she
said it again, say it because she really
meant it. And I think she had thought it
over. Whether or not she ever quite con-
vinced herself marriage is a happy way of
life, I don’t know. I prefer to think she
did. We’d just redecorated our house the
week before. I assure you there was no
thought in my own mind of getting a di-
vorce. And there was no third party —
not as far as I was concerned. . . .
“I’m not blaming Jacqueline,” Dale goes
on quietly. “She has her reasons. And it
takes two to get married and two to get
a divorce. If a man is all a woman wants
him to be, she will work very hard to be
all he wants her to be.
“There are things I can’t talk about,”
he adds. “Things that could be remedied,
but it would take a great deal of effort on
both parts. And it would take a long
time. I’ve known marriages to last forty
years when people have fallen in love
overnight, but they’ve really worked at
it. And they’ve given it time to grow.”
But time ran out too soon for Dale and
Jacqueline Robertson, leaving them linked
by some happy and not-so-happy mem-
ories. And linked always by a rosy-
cheeked little two-year-old queen of an
animal-kingdom nursery. A nursery her
father painted three times because he
wanted an exact shade of blue, and where
he sang her to sleep at night, accompanied
uy a big friendly blue elephant with pink
ears that tinkles Brahms’ “Lullaby.”
Only those very close to him would
know how much his marriage, his home
and that nursery could mean to Dale and
how hard, in his own way, he tried to
preserve them. Few know how both sen-
sitive and earthy he is. An often antago-
nistic press is uninformed about Dale and
he’s shown little inclination to enlighten
it — particularly when it pries too close
to his heart. He’s guided, concerning his
marriage, partly by a Confederate chiv-
alry, partly by a stubborn conviction that
it’s nobody’s Yankee business anyway.
For nine months following their separa-
tion, Dale kept floating around, hanging
his hat at the home of friends where he
could feel a warm and close family tie.
He would stay in Hollywood with his
stand-in, Kit Carson and Carson’s family,
or out in Woodland Hills in the valley
with old friends he’d met through horse
shows. “I’m going to have to get some
place of my own,” Dale kept saying then.
“I dread to, but I can’t just keep living
off everyone else.”
Now Dale and Chief, his German Shep-
herd dog, are batching in a “small sort
of modern-type” furnished house in To-
luca Lake, the section where Dale lived for
a while before going into pictures. Chief,
whose heart is beyond any court’s cus-
tody, always keeps one devoted brown eye
affixed watchfully on Dale when he talks,
seconding every word. “Now that I have a
place, whenever Jacqueline’s out of town
at horse shows, I’ll keep Rochelle with
me. You should see her now. Let me tell
you, she’s a dandy!”
“She’s a dandy.” Remembered words
from almost four years before. “She’s a
dandy!” he’d said of lovely nineteen-year-
old Jacqueline Wilson. They rode horse-
back. He had a ball team in the valley,
and he took Jacqueline to some of the
games. He took her out to his comfortable
three-bedroom GI house in the small town
of Reseda to play pitch with his Aunt
Iona and Uncle Omer, who then lived
with him. “They’re crazy about her — and
they’ve been married forty-six years!”
he beamed to friends. And he told her of
his ambition to write. Colorfully, he out-
lined the plots and characters in stories
he’d written. The girl in each of them he
was sure was Jacqueline Wilson. And to
her, Dale embodied the hero in every
story he told.
Theirs was a wedding for any bride to
remember and a gay reception set to
moonlight shining through the stately
Eucalyptus and a strolling accordionist’s
“On Top of Old Smokey” and “Be My
Love.” A girl, radiantly beautiful, re-
vealed she’d found out all the basic, im-
portant things about Dale from his stories.
“In every story I realized he was the
hero. He was describing himself. I knew
him through them.”
As they raced through a shower of con-
fetti down the hill into the glittering world
founded on boy-meets-girl, those there
were sentimentally reminded that life can
write better love stories than any scribe
can imagine or the screen can tell. But
life writes it’s own realistic and unhappy
endings, too.
One clue to basic differences in their
troubled future occurred during the first
hectic happy days before they were mar-
ried. Dale wanted a simple ceremony with
a minimum of fuss. Jacqueline wanted a
home wedding. Her mother, an actress
of the silent-picture days and socially
minded, was making out the wedding in-
vitations and asked Dale if there weren’t
some people at the studio he wanted to
invite. She listed various important studio
executives, including Darryl Zanuck,
whom Dale had still never met. “I thought
you would want them to come — the peo-
ple you work with,” she offered.
“Do you know these people?” he asked
then. “Are they friends of yours? If they
are, it’s all right. But don’t invite them
for me. If you’re going to ask my friends
from the studio, ask them all, including
the ones I work with, instead of just the
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people I work for but hardly know.”
When the stardust cleared, Jacqueline
naturally didn’t embody all the heroines
in Dale’s stories and Dale was no hero,
but a man with all the sometimes mad-
dening male qualities. He was as strong-
minded as his heritage. And Jacqueline,
for all her seeming poise and sophistica-
tion, was as young as her nineteen years
and unequipped by background or experi-
ence to weather so soon the responsi-
bilities of marriage even to one with Dale’s
stable, however strong-minded, values.
While Dale’s mother owns the Robertson
Convalescent Hospital for older people in
Oklahoma City — which she built from
scratch — and they had always been reason-
ably comfortable, Dale had been educated
for the finer arts in living but not the
froth.
It was early evident theirs were dif-
ferent definitions for love and marriage
and happiness and for what many of the
important things in life are. Too different
to be dissolved by moonlight shining
through Eucalyptus or a week’s heart-to-
heart talks. With Dale’s deeply rooted
Cimarron background and Jacqueline’s
younger hot house experience, the little
things that were to be adjusted after mar-
riage began to close in, grew larger all
the time. When it came to building a mar-
riage, their values seemed as unrelated as
building on rock and on sand, values that
would take time to bridge.
Unfortunately there was no time for a
honeymoon or any adjustment period aft-
er they first married — unfortunately for
a very young bride. They were married on
Saturday, spent their wedding night in
Santa Barbara and Dale was due back
on the set at 20th Century -Fox on Mon-
day. They planned to honeymoon later
at romantic Banff and Lake Louise. But
Dale was thrust into one picture after an-
other. “I’d like to be married all over
again,” Jacqueline once said. “It happened
so fast. Sometimes I can hardly realize
it.” And then, before she could grasp many
of the responsibilities of being a wife,
she was a mother. When Dale finally got
two weeks off, they went to Oklahoma
City to Dale’s mother’s where the Robert-
son clan gather from far and wide for
Christmas every year. This was Jackie’s
first introduction to Dale’s home town, and
to many of his people. She was ill from
the first weeks of pregnancy. The whole
trip was a pretty miserable experience.
It’s doubtful, too, whether Jacqueline ever
felt at home in Oklahoma. And while Dale
always encouraged her to spend time with
her family, he seldom went along. He’s no
student of small talk he doesn’t feel, and
his is an inborn horror of, as he used
to put it, “Just sitting there — feeling like
a hypocrite.”
Admittedly “old-fashioned” when it
comes to marriage or his home or his fam-
ily, Dale was determined to build his own
marriage and happiness on values that
would last. With patience, he hoped to
persuade Jacqueline to accept his values.
In her way, she gave it a good try. And
Dale loved her more than perhaps even
Jacqueline realized — in his way — which
was not her way.
Mental cruelty.
Fragments of arguments, phrases, sen-
tences, fears — and a few tears — walk like
ghosts across a memory. Familiar ghosts
to many marrieds who’ve survived them.
Jacqueline’s half-laughing, “He’ll buy
me a set of golf clubs. But he doesn’t un-
derstand women’s tastes. He thinks clothes
are sort of frivolous.”
And Dale’s, “We can’t go off the deep
end and make bills we can’t pay. I’ll get
a mink coat when we can pay for one.
I’ll get another car when we can pay for
it. I’ll get a new home when we can pay
for it. We’ll have all tfiese things — when
we can pay for them, but not till then ■ 1
Jacqueline’s rueful admission, “I havflfl
an irky habit of always asking him whe
he will be home. I seem to ask him ever
time he leaves. I’m not trying to pin hii i
down or anything. I realize it’s ridiculou
because he can’t know exactly what tim i I
he’ll be through shooting at the studi i
and get home, but still I ask.”
Jacqueline wanting to do part-time pic
ture work, even working as an extra nov
and then. Dale’s logical reply (for he he!
strong thoughts on such subjects), “Yo
wouldn’t want to take a pay check frorl
somebody else who really needs it, woul'
you?” And Jacqueline agreeing she wouli
not.
Dale’s frank admission, too, “I’m old
fashioned and I know it. I was brought u
to believe a husband is the head of thj
house, the bread-winner, and it shoul
be that way.”
Jacqueline’s, “He says he loves me, be
he never calls me and asks me to com
out to the studio. He never takes me o
location or calls and says, ‘I miss you.’ ” 1
And Dale’s reflective, “I’ll never forge i
before we were married, somebody in he
family said to Jacqueline, ‘This will b
wonderful. You’ll be going to premiere!
and parties. You’ll be going on persons’
appearances with Dale, on location trip:
to the studio. You’ll really have a gai
life,’ And Jacqueline said then — and
loved her for saying it — ‘No, I think a ma
has his work to do. A wife shouldn’t ex
pect to always be tagging along.’ I though
then, ‘This is just wonderful. I’ll take he
with me when I can, and when I can’ :
she’ll understand, too. This will work ou
just fine.’ Well, that theory was blown t
blazes the first three weeks.”
How understandably upset a sensitiv
bride would be: When Jacqueline callei
the set one day to tell Dale their happ;
suspicions were confirmed — they wer
going to have a baby — on the other en
of the telephone, he replied simply, “01
I’ve got to run,” and hung up. He explaine
later, at that second the assistant directo
called him for a scene and he had to han
up. Dale’s joy in fatherhood was expressei
in his own way. Working on the nurser
in the evenings. Bringing Jacqueline bac!
a glamorous lame jacket and a very smar
suit. The picture of a masculine guy lik
Dale shopping for maternity clothes woul
be more proof than words. But there wer
words, too. “You know, I never thought
would have a child. I’ve wanted one.
used to think about it a lot. It still seem
just too good to be true.”
Dale’s preoccupied moods were some
times disturbing to Jackie, and Dale ha
admitted, “They can be hard to under
stand. It’s easier to see somebody else’
shortcomings than your own. But I hav
my share. Of that I’m dead sure. I’m no
too easy to live with. And I do get quie
and that isn’t always easy to understand.
The strong and silent can be difficul
for those less emotionally secure to under
stand. During one of Dale’s silent mood
Jacqueline once burst into tears, saying
“You don’t love me.” On another occasior
she once said, “Dale is so strong. Nothin;
bothers him.”
But Jacqueline would have been sur
prised to know, too, how many times he
husband needed his wife’s strength. A
he says now, “There are times when ;
woman is a little girl to be protected ant
loved. And that’s as it should be. But then
are other times when both a man ant
woman must be strong and face their prob-
lems together.”
And there were times when it mus
have been pretty difficult for a man witl
Dale’s usual inner strength, a man as self-
sustaining, to understand the need foi
constant reassurance, the fears that cai
beset a wife — fears, however unfounded
94
t can undermine a wife’s trust,
nfounded reckless items in Holly -
id gossip columns and malicious un-
Led stories in magazines used to worry
jueline. “But why would they say
; if it isn’t based on something ?” she
lid say. Despite Dale’s reassurance,
the day ever comes when I come home
light and I can’t look you in the eye,
1 there’s something to worry about.
these things . . .” he’d say, shaking
head. Nor could Dale understand why
didn’t have more faith in him. One
;ip item linking him with a famous
ion-picture star was so ridiculous a
ter-friend called a publicity man at
studio where Dale was going on loan-
and asked him to set the columnist
ight before damage could be done,
lat’s wrong with being linked with a
jeous doll like that?” he said, sur-
ed. “Three things: Dale’s wife and
y — and he’s never even met the girl!”
ale resented such items because they
e so upsetting to Jacqueline. His own
ie-jawed attitude with such colum-
s did little to help, and on occasion it
ild be Jackie who would defend him
1 them, resent it, wondering, “Why
’t they say something bad about me?”
ecause it was obvious Jacqueline
ned to need so much reassurance and
n’t too happy when he was away from
Dale tried to keep his personal ap-
rances to a minimum. An outdoorman,
imited any sports that would take him
iy from her, like hunting, fishing or
nng golf. The one day he played golf,
idays, he would get up at 5 a.m. to be
le by the time Jacqueline awakened,
De with her the rest of the day.
ffiich would seem hard to reconcile
l some barbed views Jacqueline’s given
since their separation, giving Dale’s
;er as the cause for their trouble. Stat-
he cared more for his career than for
family and didn’t have time to work
heir marriage. Also that “movie wives
e to take a back seat in marriage any-
r.”
movie wives take a back seat, it’s
e’s view — and it’s always been his view
rhey get into it themselves. They have
ireer, too, in trying to make a home. I
’t mean just keeping it dusted and
ivered and the dishes washed. I know
;’s very dull work. I never really cared
lit that. There’s far more to making a
le than that.”
nd certainly Dale’s career should never
e separated them. Any strong-minded
vs he’s maintained which have some-
;s been attributed to a star-swollen
id, he would have maintained rough-
icing in his native Oklahoma oil fields.
Dale, making movies is a business. He
d to worry about his family’s future,
i, believing any actor should have a
i business, too, he invested in Everlast
: oratories. When he wasn’t before the
i era he would be out selling their
duct, or in overalls at the new plant
I [riding nails, moving furniture and
king as just another hand. But he still
aged to spend an average amount of
r with his family.
'unny, when a man works as a butcher
arpenter he has a job. But when he’s an
r, he has a career.” Dale says now,
ring his head. “Acting is just a means
upport. An actor sells entertainment
nther people. Like a carpenter, he needs
1 money to support his family. I did
ik more of success after I married than
er had before. Because of Jacqueline
i Rochelle. I wanted to be able to put
lathing aside, so if something should
>en to me, they would have enough
o on. But in any marriage, if two peo-
tcan be together as much as we were
ither, they spend ninty -seven per cent
leir evenings together and ninty-nine
per cent of their Sundays together, there’s
no reason why their marriage shouldn’t
be right. And no couple, where the man
works, can be together much more than
that.”
During those three years when they
hoped to achieve understanding, he tried
to make Jacqueline understand that adult
love is guided by more than physical
presence. “You can love someone just as
much when you’re away from her,” he
would say. And doubtless there were
times when he left things — things a wife
likes to hear — unsaid. In his marriage, as
in his work, as in life, Dale was motivated
by the words of Edgar A. Guest whom he
loves and lives by:
I’d rather see a sermon than hear one
any day —
I’d rather one would walk with me —
than merely tell the way —
By deeds rather than words. His reaction
to this, then as now, was, “We have to
show that love and respect are there. To
say, ‘I love you,’ isn’t too hard. But to
show it is something else. Maybe I didn’t
show it too much with words, but words
are cheaper than water. A wise man can
spout off many words, but so can a fool.
You can take a breath and say thirty
words. But if you don’t back up those
words, then it won’t work out in the end
anyway. We all want to be loved, but we
can’t just sit back and say, ‘Love me.’ We
all have to earn that love and keep earn-
ing it. I tried to show Jacqueline I loved
her. But my way of showing love wasn’t
her way.”
Theirs was a different definition for
happiness, too. For all the “preview” Dale
gave her before marriage of the simple
life they would lead, this wasn’t Jacque-
line's idea of excitement and gaiety. Dale
took the long view of building happiness
together and anchoring it. How far apart
they were on this score he discovered one
night when Jacqueline said, “I’m just not
happy any more.” Dale asked what it
would take to make her happy. She said
she didn’t know. “Well, what did you do
before we were married that made you
happy?” he asked. “I went to parties and
had fun.” Dale said then, “You don’t
know whether you were happy or not.
That wasn’t real happiness, that was syn-
thetic.”
Reminded of this now. Dale says, “True,
we didn’t go out much. We didn’t go to
many parties, and she couldn’t under-
stand it. But parties are no source of
happiness. They can get very boring and
pointless. I tried to build happiness for
us with the things that keep you happy
for a lifetime — not just a short while: by
learning to know people and like people,
by building love for our home and for
good friends. Real friends who would still
be our friends after the tinsel wears off,
after the movies and this temporary suc-
cess. And everything I said or did wasn’t
because I didn’t love Jacqueline but be-
cause I did love her, because of our fu-
ture, because I believed I knew what
would make her happy, too, in the future.
I tried to build real lasting happiness.
“Who was it that said, ‘Happiness is like
time and space. We make and measure it
ourselves’? It isn’t easy to find at best,
and I guess that’s about the size of it.
But if you could grab it out of the air, it
wouldn’t mean anything or be worth
working for. I think making a home could
be a source of happiness. And I wouldn’t
think any woman with children should
find too much time on her hands. She has
the greatest gift and the greatest career
God was able to give her.”
Divorce has never been Dale’s idea. Nor
his solution. Friends hoped their recon-
ciliation after some brief trouble two years
ago would achieve a better understanding.
Jacqueline was hurt when Dale, under
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great pressure, wanted to get off some-
where and think by himself for a few days,
thinking this would be better for Jacque-
line, too. She felt deserted and miserable,
“Dale shouldn’t be married. He wants to
come and go, keep his freedom.” But it
was Jacqueline who constantly mentioned
securing that freedom. Not Dale. He was
the one who got upset if she mentioned
divorce. Later they seemed very happy.
As she put it, “We’ve both changed for
the better. We’re not as stubborn as we
were before. I’m not as sensitive as I was.
And Dale — well, he lets his emotions show
more.”
But the ranch-type home they talked
of building in the Royal Oaks section of
the valley, where the rolling hills roll up to
meet the sky, will never be built. Not for
them. . . .
The girl who fell in love with the hand-
some movie star “hero” of his stories and
the guy who thought his love embodied
every heroine he’d ever imagined know
now that in the daily drama of two human
beings living as one, heroes and heroines
belong strictly where they are — in the
storybooks.
Dale readily admits, “I’m quite sure I
expected too much of Jacqueline. But I
also think she expected too much of any
one man. She frequently pointed out to
me the good points of many men. But if
I am expected to have the good points of
seven or eight men then I’m bound to have
some of their bad qualities, too.
“We went to a marriage counselor once.
You fill out papers, and they make a graph
from questions and answers. Our graphs
went in exactly opposite directions. How
much that means, I don’t know. But I do
know when it comes to building a life
together , we didn’t see things exactly
eye to eye.”
As for any chance of ever getting back
together, Dale says, “I don’t see how. I
don’t see how we could talk ourselves
back together now. I’m no angel — I’m from
Missouri. And I have to be shown. And
Jacqueline’s from the other side— same
state. As I said, there are things that could
be remedied. I still feel with more time
and effort our marriage might have
worked. But I think Jacqueline decided
some time ago she didn’t want to try any
more. Now I just want to get it all over
with, and see the baby’s needs taken care
of,” Dale says slowly.
Her father has given a great deal of
thought — and heart— to how their divorce
will affect Rochelle. “I’ve made provisions
for Rochelle’s education that will take
her right through college. I did that right
after we separated in the event anything
should happen to me. Jacqueline wants
her to go to private schools. I’m not for
that, but that will be up to Rochelle. I
don’t like the idea of shipping kids off to
private schools away from their family,
maybe against their will. When she reaches
that age — if she wants to go — I’m not
going to object. I’ve arranged for a settle-
ment to be given her in a lump sum when
she finishes college. I did that for her own
protection. If anything happens to me, or
to Jacqueline, I don’t know who would
raise her and I want to be sure she’s taken
care of.
“Jacqueline’s afraid Rochelle’s turning
into a ‘mama’s girl,’ ” Dale goes on
thoughtfully. “But I don’t think so. Her
mother will be with her most of the time,
and I want the baby to love her and miss
her — feel very close to her. Rochelle would
never be too possessive anyway. She has
too much independence for that. And it’s
important to give her all the love we have
between us. She isn’t going to have a
mother and a daddy both, so I don’t think
there’s any danger spoiling her with too
much love.
“We’ll always discuss together what’s
right for her and hope and pray we’re be
right. We’ll have to work hard to teal!
her the right things — things that will ma
her happy and not spoil her. I’d like i j
her to grow up knowing how to make
home, so if she falls in love with som
body who can’t give her what her motl
and father gave her, she will be prepai
and it will spare her a great deal of troul •
later on. I want her to know the real vali
in life — love, friendship, a home. The i
portant thing is to spend time with hei
I don’t think you can spend too mu
time with a child. And to give her all c f
love.”
A mother’s love— Dale knows about th
He remembers too well another kid. A t i
six years old when his father and motl .
separated. “I missed my father like as
kid. But my mother worked doubly hi
to see we didn’t miss anything — and :
succeeded. Rochelle will never need »
know what it is to miss anything eith
And as long as she’s a growing girl, i
guarantee I’ll never be far away from he i
The future? For months Dale has be
dating Mary Murphy, talented and lov f
little Paramount starlet. With freedorr r
matter of days away, Hollywood has be
speculating about them. “Mary would
a Godsend for any man,” Dale says firirx
“She has so much understanding. I haves
gone out with anyone else because*
haven’t wanted to. But I’m not thinking b
marriage at the moment. I have too me'
problems to think about. I’m not say
it can’t happen, because it could. But
not foreseeing anything right now.”
Dale and Mary Murphy certainly km
each other better than Dale and Jacqi*
line did when they were married. They
co-starred and worked together in “J
ting Bull.” They’ve gone on personal ;
pearances together. There could be <
problem, a source of possible disharmo
Mary, 22 years old, very pretty and v
talented, is under contract to Paramo: t
As Dale goes before the cameras, starr
in “Top of the World,” Mary has just b
given the biggest break in a very pron
ing career, the important young dram;
lead in “The Desperate Hours,” with Fr
ric March and Humphrey Bogart — wl:
is indicative of what her studio plans
her.
Dale has never believed too much
career wives. “I can’t remember when
careers have been successful in one ft
ily — when they’re both in pictures,”
says. “I don’t say they can’t be. I’m
saying whether or not it can work
I don’t know. And I don’t intend to 1
into the future. That’s for the prophe
But whatever the prophets decree »
the future, the past three years le
much to be remembered, much tha:
good, and much that has been lean
“I’d hate to think I spent three years
didn’t learn anything,” Dale says slo
now. “The things you learn stick in y
subconscious. You don’t talk too m
about them. But you know where t
are and they’re the jury.”
Then, as though thinking aloud of tl
two who descended from the hilltop
the bright tomorrow— facing life toge
so confidently . . .
“Our marriage lasted longer than sc
not so long as others. But in those tl 1
years we were married we knew n
happiness than many who’ve been mar
many more years. There were times w
we had happiness you couldn’t put
any storybook.”
And from their union there’s a dar
ter Dale hoped for but never expected
have. A little glamour girl who hold:
of her father’s heart in her own chu
little hand. And in the darkness of
night — many nights — Dale Rober
dreams his dreams for her.
The End
96
Just What the Doctor Ordered
( Continued from page 40)
dependent upon both husband and baby
son. Instead of excitement, she felt dis-
couragement over the prospects of her first
light-club engagement. Las Vegas seemed
a million miles from home and Timmy and
Jim. She made up her mind; she wouldn’t
do it, she couldn’t leave them.
“It’s funny,” she thought. “You are a
aerson and you are happy by yourself and
-,he way you live. Then you meet another
aerson and fall in love with him and marry
lim, and you are just exactly twice as
lappy. And after that a third person comes
ilong, a very small one named Timothy
Patrick McNulty and you are exactly twice
Its happy again. And then suddenly you
j-ealize that with all this happiness the
nany thing that used to seem so impor-
Iant before seem small and your big job
low is keeping all your new happiness in
ji'ood order.”
I Some people — and not just in Hollywood,
either — tackle wedded bliss with the
nental reservation, “Well, if it doesn’t
work, we can always get a divorce.” Of
ourse, such people are quite correct in
rheir assumption: they can get a divorce,
Ind usually do. But to Ann and Jim the
jossibility of a divorce is simply incon-
eivable, and not solely because their
eligious faith forbids it. Their own per-
onal faith — in themselves, in each other
lorbids it, too.
I That kind of faith doesn’t come easily —
ertainly not from the simple act of falling
a love. It comes from a good deal of living
nd growing-up, which both Ann and Jim
ccomplished before their marriage in
une 1953.
Many little girls want to be actresses,
ut Ann made the dream a reality. From
ae age of five, when she sang and recited
The Chimes of Normandy” on the radio,
he was a professional. It wasn’t easy. With
er mother and older sister, she lived in
New York City cold-water flat. The
imily was very poor. To support Ann and
forothy, and provide money for Ann’s
nging, dancing and dramatic lessons at
led Wayburn’s School, Mrs. Blyth worked
1 a beauty parlor, took in laundry, sewed
ite into the night.
Radio jobs came occasionally for Ann.
iften, instead of a job she had hoped for,
lere was disappointment instead. But
overty and disappointment are not what
le remembers best about her childhood,
ather, her memories are of her mother’s
>ve, of abiding hope and trust in God.
In her early teens, Ann read success-
illy for a part in a Broadway play, “Watch
i the Rhine.” The play was a hit, and
iter its Broadway run she toured with it
:ross the nation. When it played Los
ngeles, a talent scout from a major studio
)otted her and offered her a contract,
or two years, Ann was the sweet young
ling in a series of quickly forgettable
ctures. Then, against the objections of
ime who felt she lacked the dramatic fire
;cessary for the role, she was allowed to
ay the vixenish Veda in support of Joan
rawford in “Mildred Pierce” — and did
ich a stunning job that she was later
aminated for an Oscar on the strength
it.
But it looked, shortly after “Mildred
erce” was completed, as if Ann would
?ver act again — nor walk either, maybe,
sbogganing with some friends in the San
2rnardino mountains, she was thrown
om the sled. She got to her feet and daz-
lly walked the rest of the way to the bot-
m of the run, unaware that her back was
oken, with a fragment of vertebra ac-
ally protruding through her flesh.
For seven months after that accident,
an was bedridden, in a cast. Doctors were
unable to tell her with any certainty that
she would recover the use of her legs. Now
she needed every bit of courage, of faith,
she possessed — to fight the fear and the
pain and the endless hours. Yet she said
later, “I don’t think I ever really believed
I would be crippled.”
Nor was she. After the seven months in
a cast and another seven wearing a steel
brace, she was able to once more to do all
the things she loved — dance, ski, swim,
bowl, play golf and tennis — and to take up
her career where she had left it off. But
fate had another bitter blow in store for
her. She had barely started work on her
first picture after the accident, when her
beloved mother passed away.
You can’t undergo such experiences and
emerge from them unchanged. In Ann’s
case, they matured her beyond her eighteen
years. After her mother’s death, she per-
suaded her Aunt Cis and Uncle Pat to give
up their Connecticut home and live with
her. She worked hard at her career, stead-
fastly avoiding the more hectic aspects of
Hollywood social life. From time to time
her name was linked romantically with
that of some handsome young actor, and
at first when this happened Ann would
become so upset she would refuse further
dates with the young man involved, for
fear of giving gossip more to feed on. Later,
she learned to accept columnists’ interest
in her activities as one of the facts of
Hollywood life.
But there were some other Hollywood
“facts of life” which Ann never did accept.
She was completely co-operative with
studio bosses as far as attendance at bene-
fits and premieres went, and with studio
publicity departments for interviews and
picture spreads, but she was seldom seen
in the glittering night spots and lived her
own kind of life — serene, unspectacular,
centered around her home, her aunt and
uncle and a few close friends.
She rather baffled Hollywood. Along with
her sweetness — no one ever heard her say
an unkind word or raise her voice in anger
— she had an innate dignity that led some
people to think her dull. They worried, or
pretended to, because Ann Blyth had
reached the age of twenty-four without
being awakened emotionally. Ann herself
was not in the least troubled about the state
of her emotions.
“I always knew,” she told a friend short-
ly after her engagement to Dr. James Mc-
Nulty was announced, “that I’d find some-
one like Jim. I was just waiting. Now I’m
in love for the first time in my life and — oh,
it’s wonderful!”
Dr. Jim could have echoed those words
for himself. He’d been waiting, too. Nine
years older than Ann, he’d been too busy
to be serious about any girl. Medical school,
six short months of private practice and
then six long years in the Navy, followed
by the stresses and strains of establishing
a new practice in Los Angeles as a spe-
cialist in obstetrics and gynecology— all
this hadn’t left him much spare time to
devote to romance.
It would be wildly inaccurate to report
that Ann and Dr. Jim fell in love with each
other the instant they met at a Hollywood
party. They liked each other, yes. Dr. Jim
thought Ann was the most poised and
beautiful girl he had ever seen; Ann
thought he had the kindest, most under-
standing eyes of any man she knew. They
talked; Ann knew and liked Dennis Day,
Dr. Jim’s brother, and they had other mu-
tual friends.
Five days later Dr. Jim called Ann to
invite her to the christening of Dennis’ sec-
ond baby. There she met the McNulty clan
— Mom and Pop, Mr. and Mrs. Patrick
McNulty, Jim’s sister Mary and his other
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brothers John, Frank and Bill. She admits
to having noticed with some interest that
of all the McNulty children, only Jim was
still unmarried.
But it wasn’t until three years later that
Dr. Jim asked Ann to be his wife — asked
her on Christmas Eve, in the old-fashioned
way with, ready in his pocket, a diamond
ring he wasn’t completely sure she’d accept.
Those had been three years when friend-
ship and mutual respect ripened slowly,
imperceptibly, into love; three unhurried
years of learning that they liked the same
things, thought alike on issues they both
considered important, could laugh and play
together or be quiet together with equal
happiness.
Their wedding on June 27, 1953, was one
of the most beautiful and impressive Holly-
wood has ever seen. Held in St. Charles
Roman Catholic Church in San Fernando
Valley, it was a double-ring ceremony pre-
sided over by James Francis Cardinal Mc-
Intyre, Archbishop of Los Angeles — the
first time in Hollywood history that a star’s
wedding has been performed by a Prince
of the Church. Later, in the Crystal Room
of the Beverly Hills Hotel, Ann and Dr.
Jim received more than 800 guests at a
champagne breakfast.
One of the guests at that breakfast told
me, “I was never so sorry for any man in
all my life as for Dr. McNulty. Photog-
raphers kept saying, ‘Look this way, Miss
Blyth,’ and ‘Can you come over here, Miss
Blyth,’ and nobody paid any attention at all
to the groom. He was the forgotten man.”
When this remark was repeated to Dr.
Jim, his eyes widened in honest surprise.
“Why, I never gave it a thought,” he said.
“Isn’t the bride supposed to be the center
of attention at a wedding? And with Ann
looking so lovely . . . Anyway,” he added,
“I know how it is, Ann being a famous
movie star.”
Which is precisely true, and one reason
the McNulty marriage is on such a firm
foundation. As Dennis Day’s brother, Dr.
Jim is no stranger to the crazy world of
show business. The demands of Ann’s
career can neither surprise nor distress
him.
Both Ann and Dr. Jim have a deep re-
spect for the other’s work. During those
seven months she spent in a cast, helpless
and in constant pain, Ann learned to vener-
ate the medical profession. To her, there
is nothing quite so wonderful as a good
doctor, with the knowledge and skill, his
dedication to humanity. And she finds it
specially satisfying to think that Dr. Jim’s
branch of medicine concerns herself wit! I
the miracle of birth.
For his part, Dr. Jim is an avid movie
and theatre fan. He is intensely proud o:
Ann’s fame, and once gently rebuked ar:
acquaintance for intimating that his worli
was more important than hers. “People;
need entertainment,” he said. “A fine play
a beautiful song, a chance to laugh or ever1
to cry — these are good. I’m glad Ann ha;’
the gift for bringing such pleasure.”
When “Gone with the Wind” was re-
issued last summer, Ann, who had seen i
four times herself, discovered that Jim hac
never seen it at all, and they went together j
Jim was fascinated, and afterwards the;
talked for hours about different scene;
and the performance of the stars. For her
birthday, a week or so later, Jim’s present;
included a copy of the book — “I suspect be-
cause he wanted to read it himself!” Am
laughs.
Another present was a trip to Reno, t<
watch brother Dennis Day perform in ;
night club there. Jim was able to spare onlj
a scant two days from his practice, bu
they found time to run up to Lake Tahoe
the scene of their honeymoon.
“This time, though,” Ann says wisely
“we kept out of the water. I think Laki
Tahoe is the most beautiful spot in th<
world, but there’s no denying its water i;
horribly cold. Jim and I both love to swim
and on our honeymoon we put on our suits
walked to the end of the dock outside ou;
cottage and simply dived in together. Oooh
It took our breath away. We didn’t evei
speak to each other — we couldn’t. We jus
turned around and climbed out as fast a
we went in and that was the last of ou
swimming.”
What with the arrival of Timothy Patricl
on June 10, just seventeen days before thei
first wedding anniversary, Ann’s caree
came to a temporary halt after comple
tion of “The Student Prince.” It begai
again late in September with a three-weel
appearance at a Las Vegas night club — he
first venture into this field of entertain
ment. And somehow that night-club en
gagement is typical of Ann; it sums up he
attitude toward herself, her work and he
marriage.
To begin with, she accepted it only afte
she and Jim had decided together. “The)
when it come time to go, I couldn’t thin]
of being away from both Timmy and Jir
for three whole weeks,” she said firmly. “1
will be bad enough being separated fror
them between weekends” — for of course Jir
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My Dream of Love Came True!
98
•1 already promised to fly to the Nevada
: y every Friday evening, his practice per-
rtting. So finally Timmy went along with
?! nursemaid to whom Ann reluctantly
: lfides his care when she must.
i’or her act, Ann dressed in exquisite but
:npletely modest dinner gowns. Her pro-
nm consisted of songs from her pictures,
: is specially written material — some of it
: iny, some touching, some uplifting. In all
) it, there was not one concession to the
Dposed sophistication of night-club au-
1 nces — which is to say, there was not one
trd Ann would have been embarrassed
/have her own son hear, had he been a
|sr years older.
Lnd Las Vegas, which had loved Die-
jj;h and Mae West, adored Ann. After her
jal performance she was given an ova-
In that was a spontaneous outpouring of
action and respect. Ann Blyth can come
That Crackerjack-of
( Continued, from page 42)
blen blanket. “What’s the matter, dar-
g? Are you having trouble?”
Trouble? I do a perfectly good job of
ing eggs till they’re just right, and when
•y to get them off the spatula, the yokes
ak and the whites flow all over the
te.”
Don’t worry, darling. It happens to the
bt of us.”
’hat settled it for Lita — but not for
Iry.
lie kept thinking. Finally he came
3 with the answer: a spatula with a
iiher attached to the handle which
les off an egg so gently, even the hen
didn't object!
laving a business mind as well as be-
ti inventive, Rory had no intention of
ping the idea just for his own use. He
nned to have it patented, and someday,
te possibly, make as much or more
ney from his royalties than he earns in
movies.
!e proceeded about it carefully, because
ew years ago he failed to protect an-
i er original idea which was promptly
I en. And Rory isn’t the kind of fellow
p gets burned twice.
; 'hat time he’d invented the first deter-
I I cheesecloth, which might have made
l a millionaire had he not talked about
before it was securely protected.
; would take too many pages to list all
I Rory’s original ideas, but there’s at
:e;t one more which deserves mention,
S'ause in the years to come it might ease
I burden of farmers all over the world.
6 'rigation has always been one of Rory’s
fcgest headaches on his ranch. With
Kiparatively little rainfall, not much will
pw without it, yet it’s a backbreaking
ic to constantly move irrigation pipes
Ijugh which the water must flow.
>ne evening, so tired he could hardly
i awake through dinner, a thought
urred to him that solved his problem:
iy not put wheels on the pipes, and roll
m from place to place instead of car-
Jig them?
ut into practice, it proved a practical
se and energy-saving device which to-
•' is being used by an ever-increasing
r fiber of ranchers.
» 'ot only his ingenuity but a number of
per revelations about Rory may come
pa complete surprise to his many fans
p ) ; are comparatively unfamiliar with
f y’s life — in spite of the thousands of
y ds that have appeared about him.
I he reason? Unless pressed, he’s not
pticularly fond of talking about him-
p. He feels that what he’s doing away
frn the camera is his own business.
i 0 this, add the fact that his handful of
back to Las Vegas any time she wants to.
“I’m glad they liked me,” Ann says. “Aw-
fully glad. But you see, I couldn’t have
done a different kind of act. I couldn’t have
been— -well, flamboyant. That wouldn’t
have been me.”
This personal integrity, this insistence
upon being true to herself and what she be-
lieves in is Ann’s greatest strength, and her
surest guarantee of continued happiness.
All her life, she has wanted to be an
actress, and she has achieved that goal. But
success and fame are not- her gods. She’s
willing to work for them, and work hard,
but she would never compromise, for the
sake of her career, with her own sense of
values. Important as her work is to her,
Dr. Jim and Timmy and the other children
she hopes to have are all more important.
And will remain so.
The End
all-Trades, Calhoun
close friends — Howard Hill, Guy Madison,
his foreman Eddie Sandlin, West Chris-
tiansen and Hal Biller — can’t exactly be
described as chatter boxes either! No won-
der little is known about Rory except that
he is happily married to Lita Baron, does
well in pictures and is an expert hunter.
Even on the latter subject there’s a great
deal of misconception.
It is generally believed that Rory took
up hunting with bow and arrow as a re-
sult of his association with the 20th cen-
tury Robin Hoods, Howard Hill and Guy
Madison. That’s not the case.
Actually, having used a .22 Winchester
since his sixth birthday, he found hunting
with a rifle somewhat dull. By the time
he was fourteen, he exchanged it for a bow
and arrow.
That doesn’t mean he has lost his taste
for fire weapons altogether. He owns ten
rifles and would have double that number
if Lita wouldn’t protest so hard every
time he brings another one home.
To the vast majority of Hollywood
actors, a successful career is the ultimate
goal. To Rory it’s just a means to an end,
a way to make money to promote some of
his other projects till they become self-
supporting.
Because he has no illusions about his
acting ability, he has sometimes angered
his bosses with his attitude. At 20th
Century-Fox, where he was under con-
tract for many years, he refused to at-
tend drama lessons, reasoning that it
would be a waste of time, that he would
do better simply being himself rather than
try for a more polished, more dramatic but
less convincing performance.
The fact that his acting is limited to
playing himself on the screen doesn’t pre-
clude a lack of creative spirit on his part.
On the contrary: It’s one of his many
ambitions to become a successful writer.
He has already sold one original story,
“Shot Gun,” which was made into a movie
soon to be released, starring Sterling Hay-
den and Yvonne DeCarlo.
Hand in hand goes Rory’s hunger for
reading, though his taste and manner of
reading are quite astonishing. It ranges
from the scientific to the ridiculous. He
can get equally enthusiastic over technical
analyses, Book-of-the-Month Club selec-
tions and the Sunday funnies. Because his
biggest problem is time, he reads fast, like
he’s worried he might miss out on some-
thing if he didn’t get through one book
quickly enough to start another one right
away. When he accompanied Lita to New
York last summer, when she appeared at
the St. Regis, he read five books on the
train between Los Angeles and Grand
Central Station in New York City — a train
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ride of a mere two days and three nights!
On Sunday morning, his favorite part of
the paper is the Home Section. To get
ideas for his house, which he and Lita
keep redecorating.
For that matter, Rory has all kinds of
unusual domestic qualities. He loves to
cook, for instance.
This inclination has paid off handsome-
ly in recent months, since Rory has be-
come a restaurateur (“I’m not in the
restaurant business,” he insists. “I own
saloons, but the food is good!”).
He first got the idea when he heard of
a place for sale on highway 101, near
Ventura. Food and drinks are basic com-
modities, he reasoned. If you give cus-
tomers quality and service, you can’t fail.
He gave them both and did so well that
three months later he opened his second
“saloon” in Ojai, and soon a third, near-
by. He now contemplates opening addition-
al places in Fillmore and other Southern
California localities. It won’t be surpris-
ing to anyone, least of all Rory, if within
a few years, he’s running the biggest chain
of restaurants — or whatever he calls them
— in California.
Rory is not an absentee proprietor. Al-
though he has full confidence in his
brother-in-law, Pete Castro, who runs his
chain, whenever he finds time he stops in
at one of his places. And not just for a
quick checkup, but to work.
Many of his fans may wonder why a
movie star like Rory — who could afford to
hire manual laborers — himself does so
much hard physical work.
He has two reasons: If something goes
wrong, he has no one but himself to blame.
Furthermore, working with his hands is
so much a part of him that he can’t do
without it, no matter how much money
he’ll ever have in his bank account. It’s
a physical kind of independence, a desire
to get along without help, of being capable
to do any job anyone else can do. Rory
would have made a good pioneer.
He always has been a self-made person,
anxious to work for his independence. He
earned his first money when he was seven,
dragging nets on and off fishing boats.
At ten he was making twenty-five cents
an hour mowing lawns, and at fourteen
was in business for himself: he had the
lubrication concession at his father’s gas
station, and by his own choosing, paid
rent for it as any outsider would have to
do. Averaging four dollars a day, a huge
amount in those days for a boy his age,
he not only saved enough to buy himself
a ’32 “Model B” Ford during his junior
year in high school, but on his insistence
also paid for his clothing. Not that he was
particularly fond of clothes — he never
owned more than four suits at one time —
but he wanted to prove, mostly to him-
self, that he could get along on his owr
He’s been proving it ever since.
This attitude certainly comes in hand I
at the ranch — twelve miles from the neaii
est phofie — where he is faced with con
stant emergencies. He has to be a com
bination electrician, plumber, carpenter.
In stories that have been done in th
past about Rory and Lita, not enoug
credit has been given to the girl who h;
contributed so much to his success an
happiness.
It was quite an accomplishment for tl
tiny, attractive singer to get adjusted 1
her husband’s kind of life: camping ou
going hunting and fishing, taking care <
a four-bedroom home in Beverly Hill
at the ranch doing all the cooking, clear
ing, washing dishes, running the tracto
helping put up fences, sharing with Roi
almost any other kind of manual labo
Yet she manages to keep up with her bus
band and still look as attractive today ;
she did in 1948 when Rory first heard hi
sing with Xavier Cugat and his band i
the Santa Cruz Civic Auditorium.
A few weeks ago, the girl who s
years ago didn’t know the difference be
tween a Holstein and a Jersey cow, sui
prised even her husband with her evei
growing knowledge of ranching. Rory ar
Eddie Sandlin were discussing how
stock the ranch when she suddenly ci
in with her ideas on the proper pe:
centage of each type of cattle. What’s moi
she justified her arguments by quotir
the exact price of beef at the Los Angel
stock market.
Curiously, although Rory doesn’t ol
ject to her hard, physical work on tlj
ranch, he considers her night-club a]
pearances too strenuous for the remune
ation. A top singer, says Rory, deserves
top salary, and hers, he feels, has nev
equalled her popularity with her audiem
Rory’s reasoning seems strangely coi
tradictory — till you consider his own a
titude in this respect: Because he wor
for himself, he doesn’t mind getting de
tired doing physical labor for which
could hire a man for $1.25 an hour. But f
his films, he wants the best salary he c
squeeze out of the studio. His prese
contracts are the envy of many equa!
successful actors who don’t have his bu:
ness sense.
Thus, in a way, Rory has a double co
cept of life: On one side, get all you c
out of it, financially. Keep busy with m
enterprises. Don’t restrict yourself to o
line of .work. Expand constantly. On t
other hand, don’t let financial and car«
success interfere with the basic things
life. For the only kind of life, accordi
to Rory, worth living is a full, we
rounded, productive existence.
The End
the First little GODFREY
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Special stories about
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GEORGE GOBEL
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—
100
The Case of the Vanquished Bachelor
( Continued from page 61)
is of Gloria Hatrick MacLean Stewart
her first marriage.
Yisenheimers in Hollywood still can’t
: ite believe in Stewart, the Benedict Ar-
id— even after five years — bearing in
nd as they do that until Jimmy was
ty-two, he was the archetype slippery
n, the bachelor incarnate.
i'ive years later, the perennial bachelor
ght well be described as Squire Stewart,
irriage becomes him like his favorite
eeds, and he finds fatherhood a corn-
table and preoccupying condition. His
3 to his children are always with him.
1 good example of this is when during
t summer of 1954, Jimmy — with Gloria —
ide his first trip to the continent. As
lonel in command of an Air Force
mber squadron, he had flown over it
ndreds of times during the war, but this
is his first foot contact with the streets of
ris, Rome, and twelve other major Euro-
an cities.
n Rome, where “Harvey” was playing,
nmy was presented with a huge white
)bit, alive! Naturally pictures were taken,
id these made their way in due time to
i verly Hills where they were spotted by
entranced Judy and Kelly.
‘We’ll be so happy to have you home
Iain, and we hope the big white rabbit
ju are bringing us will be happy here,
>,” wrote the twins, courtesy of their
rse who “knows how to spell.”
>Vhen this communique reached the
ewarts, they had gone on to Munich,
ving left the rabbit in the arms of a de-
hted Roman child. “We’ll have to make
'angements to pick up a rabbit on our
jy home,” Jimmy said chagrined, “But
iwould have been impossible to tote that
imal all over Europe.”
‘Even worse than toting that rugby foot-
11,” agreed Gloria with a broad smile,
st a week before, Jimmy had been given
ootball, autographed by all members of
3 team, at a rugby match in Rome. “The
ys will be crazy about this,” he had ob-
•ved, and he made arrangements to have
.wrapped and tied with a system of cords
d handle so he could carry it. Carry it
did — over the continent of Europe, and
boss the width of the United States! And
jjr minute he got off the plane he headed
If the pet shop for the girls’ rabbit.
Although only two of Jimmy’s most re-
lit pictures (“The Glenn Miller Story,”
ear Window,” “Strategic Air Command,”
he Far Country,” and “The Man from
Iramie”) have been Westerns, the boys
sgard their Top Hand as strictly from
:etson. They bedeviled him until he
i reed to build them a fort to hold off the
i verly Hills tribe of marauding Indians,
ritually this edifice is a stockade (it lacks
roof) , but it has thirty-six square feet
: grassy floorspace, and its chinked log
'[ills are equipped with embrasures from
'rich to fire Colt ,45’s or Winchester ,73’s.
Although the boys were dubious at first
■ out permitting the twins to help repulse
le war parties, Jimmy made a settlement
i ling that all hands must share in defense,
dter all,” he reminded them, “there are
jry few boys lucky enough to have two
I tie sisters to help.”
As the family consisted Before Twins, of
nmy, Gloria, Ronald and Michael, the
: ewarts felt that they must move to
rger quarters if they were to be six. They
”re shown hilltop moderns full of glass
panses for children to break, and they
'-re shown valley provincials full of
|aint stairways where children could
eak their arms; eventually they inspect-
a square-rigged, placid and substantial
use in Beverly Hills. Its windows were
iple, but they did not extend to the
floor; its stairways were shallow and wide.
Its facade was overgrown with ivy.
“It looks like a dormitory,” said Gloria.
“Well?” said Jimmy.
Two of this dormitory’s occupants were
overheard taking an extensive interest in
their forthcoming bunk mate before the
stork had let his multiple intentions be
known.
“It’s going to be mine, no matter what
it is.” insisted Michael.
“That baby is going to be mine,” coun-
tered Ronald.
“The two of you are going to have to
learn to share,” ruled their mother. “The
baby will belong to each of you equally,
both of you together.” She gave them a
brief lecture on the beauties of cooperation
and generosity, but their attention was
spotty and restless.
“After all, you feel that Belo belongs to
both of you,” she wound up. Belo is the
family’s huge German Shepherd dog, now
ten years old and blind, hence doubly de-
serving of a small boy’s special love. Be-
sides, he is older than either boy, thus com-
mands respect.
“Nope,” said Ronald, “Belo belongs to
you. You had him in the family before
you had us. This baby is different. I’m the
oldest so it should belong to me. If there’s
another one, Michael can have it when the
time comes.”
And so it stood until Gloria learned that
she was to have twins “right out of left
field, since there is no record of twins in
either of our families.” The boys were im-
pressed. Michael said softly, “Gosh, that’s
swell of you, Mother. Now each one of us
can have a baby all to himself.”
Ronald still discerned a problem. “Yeah,
it’s okay for us, but what about Belo?
What about a baby for Belo?”
“A problem Belo will have to solve for
himself,” observed Gloria dryly.
The fact of Jimmy’s double-feature
fatherhood has been fraught with pride for
papa from the day X-rays promised twin
Stewarts. Promptly, Jimmy took Gloria
shopping for nursery furniture.
“We’ll take two of these beds,” Jimmy
said.
The sales woman was eager to be help-
ful. “One pink and one, perhaps, blue?”
“No. Just alike. Two junior chests of
drawers. Two high chairs. Two of every-
thing.”
Impressed by the legends of Hollywood
elegance, the saleswoman exclaimed, “How
nice to plan two nurseries, one on the sec-
ond floor and one, perhaps, on the first.
Wherever the family is, the baby can be,
too.”
Responded Jimmy without change of ex-
pression, “Not two nurseries. Two babies,
twins.”
The twins were born, by Caesarian sec-
tion, on May 7, 1951. If the birth had been
ordinary, Kelly would have been the
older twin, but Judy has always been
larger, so she arrived first. The girls are
fraternal, not identical twins. In appearance
they are as different as sisters can be.
Judy has thick straight, flaxen hair which
is worn in a Dutch bob. Her eyes are al-
most elliptical, giving her a wise, contem-
plative look; and they’re blue as the deep
sea. She has a good deal of natural dignity
and rarely rushes into new friendships.
Some people think she looks and acts like
Jimmy. Michael is positive that she looks
and acts like him. “After all, she’s my
sister.”
Kelly has a cherub’s mass of curly chest-
nut hair. Her eyes are hazel, her nose is
tiptilted and she is filled with puppylike
curiosity and gregariousness. More fragile
than Judy, she takes her childhood ail-
ments very seriously. She runs higher
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fevers than Judy, her colds last longer, her
immunization shots produce stronger re-
action. When Kelly is ill, Judy mothers her,
brings her drinks of water (spilled only
here and there), plays contentedly in the
nursery as if there were no beckoning gar-
den just beyond the windows, and in gen-
eral tries to be of comfort.
Judy’s serious-mindedness shows in
other ways. She will sit for hours holding a
book on her lap and turning the pages one
by one studying pictures and puzzling over
the alluring, mysterious lines of type. She
never flips ten or fifteen pages at a time,
child-fashion, but treats books with adult
respect.
Yet it is Judy who has the temper. One
afternoon she was playing with her moth-
er’s cinch belt which has a dual metal post
closure, the left half sliding from the top
of the right into a slot. In order to close the
belt, a pair of small hands must first un-
derstand the principle and then hold steady
enough to bring the solid cylinder and the
hollow cylinder into juxtaposition and slide
them together. Actually it is a problem to
baffle a six-year-old, but Judy took it on.
She worked for long moments, her
tongue extended sidewards between her
teeth, her forehead wrinkled in consterna-
tion. When she found she couldn’t close the
belt, she hurled it to the floor, clenched her
fists and held them beside her head, as if
in anger at the inadequacy of her own
brain, meanwhile uttering brief squeals of
infuriated frustration.
Then she tried again. Finally the nurse,
Mrs. Wilson (who has been with the young-
sters since birth) showed her how to steady
an elbow against her side, bring the posts
into alignment and slide them together.
Judy’s sigh of satisfaction could have been
heard into Kansas.
Kelly is not so intense. She will work
at placing those educational-toy colored
posts into their slots, but if one proves to
be stubborn she casts it aside with a shrug
and goes on to something else. When Judy
is going through one of her determined at-
tempts to lick a problem, Kelly is inclined
to pat her sister’s head sympathetically.
Eventually, Kelly may ask, “Why bother? I
don’t think it’s worth it, do you?” So far,
Judy cannot agree.
Kelly’s great enthusiasm is clothes. It is
she who decides (if allowed by her mother
or Mrs. Wilson) which outfit she and Judy
will wear. Judy never questions the choice.
Right now, Kelly — like most small girls —
likes any color at all as long as it is red.
Her favorite costume is a pair of red cor-
duroy jumper trousers combined with a
yellow pullover and cardigan sweater set.
From the Canadian location for “The Far
Country,” Jimmy sent the girls each a
Scotch tartan beret topped by a red pom-
pon. Unfortunately the berets were a size
too small. That didn’t bother Kelly. She
was so enthralled by her new headgear that
she perched it on top of her curls and
walked around stiff-necked. A moment
later she relaxed and the beret fell off.
Chuckling, she picked up the topper and
replaced it, pancake fashion, above her
curls.
Judy tried on her beret before a mirror,
discovered that it didn’t fit, shook her head,
and tossed the bonnet aside.
On another occasion, Jimmy bought blue
jeans “just like Papa’s” for his twins. For
weeks Kelly would wear nothing else, and
even clothes-unconscious Judy was in-
clined to examine her mirrored image with
an expression bordering upon genuine ap-
proval.
Judy was the first of the twins to talk
and her initial word was “Papa!” used im-
peratively because she wanted to call his
attention to minor mayhem being commit-
ted by Kelly. Miss Kelly, the mischievous
sister, was biting dignified Judy’s arm.
Judy, instead of retaliating in kind (she
has the same number of teeth), called o
higher authority.
Papa acted. He paddled Miss Kelly on
well-padded area; no real damage was don
to anything except Kelly’s ego, but she car
ried on as if Belo had died. She’s the dra
matic one.
Kelly is the more garrulous sister, toi
When Jimmy brought home a pair of In
dian dolls, it was Kelly who gasped, “01
brother!” When Judy, driving her tricycl
with magnificent verve, bangs it into th
fence or a tree, it is Kelly who shout'
“Oh, brother!”
Incidentally, the two Stewart tricycles ar
the only objects the girls have ever owne
which do not match exactly. One has a blu
frame and the other red. Gloria and Jimm
decided to award the tricycles as a uni
without designating which vehicle belonge
to which sister. The girls seemed to accej:
them in the same manner. Neither child he
laid positive claim to one or the othei
Sometimes Judy will ride the red, some
times the blue. By some sort of tacit ar
rangement however, Judy is the one wh
decides who is to ride what.
Kelly it is who carries on long conversa
tions with the servants. She’s a round-eye
admirer of Panlichet, the French butle
and she has learned a surprising amount (
French from being with him. One day sh
marched into the dining room where Panli
chet was polishing silver, climbed onto
chair, composed herself, and delivered hc!
first complete sentence: “Panlichet, I war
to talk to you.” She also tells him “Bo
jour” in the morning, “Bon soir,” at nigh
and “Au revoir” when she leaves the hous
during the day.
Judy is inclined to observe her sister;
linguistics with an indulgently humoroi
expression which is a miniature of the wry:
ly amused Stewart look so familiar to me
tion-picture and tv fans.
Judy seldom attempts to copy her siste
but Kelly is inclined to mimic anything th;
blond Judy does. Curlytop Kelly seems 1
be somewhat envious of Judy’s flaxe
Dutch bob and on two occasions has elude
the nurse and her mother long enough 1
lay hand on a pair of manicure scissors an
a comb, attempting to cut bangs as she h;
seen the barber do for Judy.
The result is, of course, a ruffle of tin1
rebellious curls instead of the sedate coi;
fure into which Judy’s hair likes to fall. !
The general give and take of the twin
relationship stops short in one area: eac
knows her own particular nicknames ar;
refuses to be called by any other.
The Stewart family is quick to app!
sportive labels to its loved ones, so short
after birth Judy became “Tweedledum
and Kelly became “Tweedledee.” The:
were other aliases: Judy became “Fo>
Blue Eyes” and Kelly became “Irish.” Juc
became “Pretzel Puss” and Kelly becan
“Needle Nose.”
While Jimmy was tucking the girls in
bed one night he said to Judy, “Oka 1
Needle Nose, you’ve horsed around lor-
enough. Into the hay you go this minute
Judy’s eyes flew wide with indignatio
“Me not Needle Nose,” she correcte
"Kelly, Needle Nose. Me, Pretzel Puss. S;
it, Papa.”
Mr. Stewart bowed. “I beg your pardor
he said. “I’m sorry to have made such ; '
obvious mistake. Please get into bed no-
Pretzel Puss. And goodnight to you, Need
Nose.”
Two little girls pulled the covers i
around their necks and two little girls we /
lost in giggles.
Jimmy turned out the light and consi< '
ered the situation as he descended tl
stairs. Were the girls pulling a fast one <
him? Was Judy really? ... Or was
Kelly? . . .
“I’ll never know,” he decided.
The End
102
If You Like What You Love You're in Luck
(Continued from page 49)
the nose. I’m always the one who loses.”
Marty is the voice of authority at home,”
iris explained. “Terry is crazy about him.
netimes I think that’s why Marty mar-
d me.”
Don’t forget Nana,” Mr. Melcher ob-
jted.
Nana is my mother,” Doris explained,
id Marty dearly loves her.
You see, I’m just an ‘also-ran’ at home,”
ris said. “I don’t count much.”
Not much. You should see her do her
dening.”
[I like gardening, but I need a little
p,” Doris admitted.
''Doris reminds me of a surgeon,”
i rty explained. “Scalpel — sutures — scis-
i's! With Doris it’s: ‘hoe — shovel — sprin-
|r!’ ”
The steaks arrived, sans potatoes for Mr.
I'lcher. “Let me at least try one,” he said,
paring several off my plate. Miss Day
xed her tomato juice with a glass of but-
milk, admiring the pink hue she’d con-
:ted. “It’s delicious. Try it,” she said,
jering me her glass.
took a sip while Marty, having fol-
ved suit mixing the brew, downed half
glass at one swallow. Like taking medi-
e. I nevertheless wasn’t quite ready to
fend him my sympathy. “Tell me,” I
red. “Does she leave the cap off her
>thpaste?”
‘Invariably.”
‘That’s only the half of it,” Doris con-
led cheerfully. “I’m a tube wrestler. I
1’t help myself. I squeeze them all out
shape.”
‘And when she’s through with hers she
,rts in on mine,” Marty observed.
As husband to husband, I was beginning
feel an affinity with Marty Melcher.
Tiat about late snacks?” I asked.
‘No problem,” Marty said. “I have
mbles, though.”
‘I make him jumpy at times when I re-
arse my lines,” Doris elaborated. “I al-
lys do before I go to sleep.”
‘I’m peacefully dozing off and she’ll sud-
nly shout: ‘I’m going to have you ar-
ited, you cad,’ or something like that. It’s
ough to make a nervous wreck out of
yone.”
‘Never mind,” Doris said. “You get even
th me when I’m having my massage. I get
relaxed, feeling wonderful. Suddenly
;re’s a scream. ‘Shut up. Don’t make a
>ve,’ someone says. ‘What’s the matter,
rling?’ I shriek. No answer. Then — ‘Get
;o that coffin, sister,’ the same voice. By
at time I finally realize it’s the television.
5 the one time when I can’t stand tele-
iion.”
‘You see,” Marty said. “It’s not always so
sy being married to Doris.”
‘Anyway,” I said, “you can have Doris’
iging whenever you want it.”
‘What do you mean?” Doris protested,
larty does all the singing at home — in the
ower.”
‘I sing pretty good,” Marty said, some-
lat injured.
‘A great voice,” Doris affirmed. “My gain
is the Met’s loss. Marty dances, too. Clad
a bath towel.”
Several people stopped at the table to say
ello.” Doris Day incorporated greeted
em with her customary charm. You could
5 them brightening up, literally like a
rkened room whose shutters are sud-
nly thrown open to the sunshine and
ylight.
“They’re nice,” Doris said after the visi-
t's left.
‘Doris thinks everybody should be
ppy,” Marty commented. “Or at least to
t to be happy — think happy thoughts,
te’s right, too. It’s one of the things I’ve
learned from her and I’m grateful for it.”
“What’s the use of making yourself get
depressed? The whole world would be a
happier place if everybody tried harder to
think only in positive terms. This is not
just a line. I’m convinced of it. It’s worked
pretty well for me. It can work for others,
too. I like things that are nice, wholesome.
“I’ll have banana cream pie for dessert,”
Doris told the waitress.
“Coffee for me, black,” Marty ordered
balefully. “Look at that girl — banana cream
pie — and she doesn’t gain an ounce.” Doris
looked slim and trim in a sky blue, pleated
all-around shirtwaist dress with pleated
cap sleeves and collar.
“I work hard — I’ve got to eat,” Doris said,
putting her fork in position for that first,
delicious bite.
What, incidentally, was she doing when
she was not working? I asked.
“Rearranging furniture,” Marty an-
swered. “Sometimes I come home at night
and I think I’m in the wrong house. It’s a
good thing we’re not living in an apartment.
I’d really be in trouble.”
“It’s a good thing you’re not a drinking
man,” Doris added gaily.
“You can see it’s not so easy,” Marty said
again. “Come see me alone some day and
I’ll give you the lowdown on our marriage
problems.”
- “You do that,” Doris encouraged me.
“And come see me later. I may have some-
thing to say on that, too.”
I had a warm glow taking leave of Doris
and Marty, the kind one always feels after
meeting a couple who are happy and in
love. For underneath the kidding and the
banter that was quite obvious, they’re con-
genial, enjoy each other’s company, and
there’s genuine trust, friendship and affec-
tion between them. They like each other.
Which is even more than being in love.
It’s easy to see why they should be at-
tracted one to the other. Doris and Marty
are a study in contrasts, a composition in
black and white. Marty — a good deal hand-
somer than he appears in snapshots — is
very dark, the perfect foil for Doris’ fair-
ness. Where Doris is bubbling over with
enthusiasm, is straightforward and direct,
Marty is wry, suave, very calm and re-
strained. Such differences frequently gen-
erate the spark of attraction.
However, the Melchers have now been
together for close to four years, and from
the looks of it they’re going to stay married
till the end of their lives. What was it that
seemed to tie them together so securely?
The Marty Melcher I met alone in his
office was different from the urbane man
he’d been at the luncheon table.
“We love each other,” he said simply.
“Doris is a wonderful girl. She has — how
shall I put it? — she has confidence. Not just
confidence in herself; a lot of people have
that. Doris has confidence in life. It’s more
than faith, she has that, too, very strong
faith — it’s a deep instinctive confidence that
life is wonderful and that everything that
happens is for the best. It’s a sense of be-
longing, of being right and fitting for this
world. I admire her for it, and I envy it.
“Sometimes I think of her as Pippa,”
Marty smiled. “You know, Browning’s
poem, ‘Pippa Passes’? When I look at Doris
I know that all’s right with the world.”
“Incidentally, how is Doris in the morn-
ing?” I asked.
“Sleepy, but cheerful after she’s had her
breakfast. You’ll never see her grumpy.
“That’s the miracle about this girl. Doris
has actually had more than her share of
setbacks and heartbreak in her life. You
probably know that she nearly was crip-
pled in an automobile accident when she
was just a kid. It took her over a year to
get back on her feet and cut short a prom-
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ising career as a dancer. She took up sing-
ing only as an afterthought. She saw her
parents divorce, was married herself by the
time she was eighteen and had Terry to
take care of and make a living for at an
age when most girls are just beginning to
take their first, shy look at life.
“Most people would have become sour
and hard with the kind of tough sledding
Doris had, but not she. Believe me, that
sunny disposition is no pose. I don’t think
there’s anything that could take away her
joy of living for very long.
“Don’t make the mistake of thinking that
Doris is not sensitive or doesn’t feel very
deeply, though. She’s a warmhearted girl
whose grief can be as poignant as that of
any other human being. That’s part of
Doris’ make-up and part of her charm. She
feels intensely, and she’ll give all of her-
self. She’ll never hide part of herself under
a mask. You always know where you stand
with Doris.
“Another thing is, she’ll grieve, but she
won’t brood. Sooner or later her natural
buoyancy always breaks through. She’s
quite a girl.”
Marty’s and Doris’ own romance started
slowly, blossoming into love through mu-
tual trust, friendship and understanding.
The first evening they spent together was
following a recording session to which
Marty had taken Doris reluctantly to help
out his partner, A1 Levy, who was then
Doris’ agent. Neither of them was in a mood
for romance.
They found they liked each other’s com-
pany, though, and pretty soon Martv got
into the habit of dropping by Doris’ home
and having dinner with the family. Terry,
Doris’ son, seemed to take a shine to Marty
immediately. Marty has since adopted him
and feels not in the least like a step-
father.
Marty and Doris were married on Doris’
birthday, April 3, 1950. Doris’ mother had
to shoo them out of the house for their
honeymoon. They made it brief. Both were
longing to settle down with each other. At
long last they’d found peace.
Peace — with all her exuberance and all
her success — wasn’t one of the things Miss
Day had an oversupply of before her mar-
riage to Marty Melcher. A trooper since
her teens, she’d been on the move almost
constantly, leading a restless though fre-
quently exciting life. Even before her
near-fatal automobile accident at the age of
fifteen she’d played a series of summer
bookings, teaming up with her school chum
Jerry Doherty in a kids’ comedy dance rou-
tine. She expected to do big things as a
dancer, but the accident at a railroad cross-
ing in a car crowded with youngsters shat-
tered those dreams. The year she spent in
a plaster cast trying to get well and back
on her feet wasn’t exactly a peaceful one
either. For a long time it looked as though
she’d never walk again except on crutches,
or at best only with a bad limp. The idea of
becoming a dancer, of ever again express-
ing with her feet the rhythm she’d felt in
her blood since she was a baby seemed
definitely out. But Doris, a born performer,
was irrepressible. If she couldn’t dance,
she’d sing.
At first she only sang for her own pleas-
ure to give an outlet to the exuberance and
rhythm that bubbled up again despite the
setback. Then a trend of her mother’s who
happened to be a singing teacher took 1
in hand and worked on her range. Foi
teen months after her accident, si
hobbling on crutches, she was back js
business at the old stand, the local dan< fli
in her home town of Cincinnati, Ohio. E i®
where she’d once hoofed, she now sang, a 1
sang well enough to attract the attention (111
professionals. A song plugger, Danny Eng iy.
recommended her to radio station WLV «1
voice coach, Grace Raine, who in tu (la
recommended her to Barney Rapp who v ste
looking for a singer for his band.
“I can’t use that name,” Rapp said wh sji
he was told about Doris Kappellhoff. “E li
send over the girl. Maybe I can use he if
Doris sang for him “Day After Day,” w fc
hired on the spot and changed her name -
“Day” after the lucky song.
Doris was mighty happy over that fi: 'tc
break; but she couldn’t stand still; she h 111
to move on. Always on the go, she we
from Barney Rapp to Bob Crosby, a
finally to Les Brown. Then came a ball;
“Sentimental Journey,” that sold over 1
million platters and spread her fame fre "
coast to coast. The next step was a succes *)
ful screen test for Mike Curtiz, a starri
role in “Romance on the High Seas,” anc
Warners contract. 1 -
Success came to Doris fast after that, l
happiness still eluded her. Mom and Ter
moved out to Hollywood at last and s
found a great measure of contentment, j
perhaps without being fully conscious of
herself, she felt incomplete not being ma
ried. The famous grin came back prel
quickly, and the exuberance, but the inr
glow was added only when Marty Melch
entered her life.
“Marty is a very kind person. That’s w!
I love perhaps most in him,” Doris told i
when she, in turn, spoke to me alone. “
times he’ll make a pretense of being cyr
cal, but underneath it he’s one of the sol
est, gentlest men I’ve ever known.”
Doris needs kindness, always has need
it. Even as a child, she often used to wa
up crying, plagued by nightmares and e
phantasies conjured up by the dark. Wh
she ran into her parents’ bedroom for i
assurance her father would send her aw;
“Doke,” he’d say. “You go back to bed. A
let’s have no more of this nonsense.” Th
she’d stand shivering in the hall, waiti
for her mother to come tiptoeing out a
comfort her in her arms.
“Terry knew Marty was all right t I
minute he laid eyes on him,” Doris co
tinued. “Kids seem to have an instinct 1
that sort of thing. Marty is a wonder:
father to Terry — and a wonderful husba
to me.
“Sure I was in love before. I knew hea: i
ache and misery and thought that was 1
way it had to be and always was. I w
wrong. Since I’ve known Marty I
learned that love really is the most bea
tiful experience two people can share.
“It takes a little growing up. This isn’t 1
stuff. But most of all you have to be luc
and find a guy who’s good, patient a
sweet, a guy who’ll never hurt you; sore
one who cares about your welfare and ha
piness as much as he does about his ov
and you about his. Never mind all this t;
about friendship, security, understands
In my book, that’s love.”
The End
Coming in the March Issue of Photoplay
TWO OF HOLLYWOOD’S MOST ROMANTIC STORIES OF THE YEAR
a Marlon Brando's bombshell romance in Bandol
• “ I'm in love with a wonderful Guy," says Sheila Connolly Madison
ORDER YOUR COPY NOW AT THE NEWSSTANDS, ON SALE, FEBRUARY 8
Hollywood Has
( Continued, from page 64)
le skirt all the way down, which gave it
le look of a one-piece dress when acces-
Irized properly.
“I chose flannel, and still recommend it
Highly because it is always a good fashion
uy. The price range is excellent, for you
in buy a good flannel suit for around fifty
collars and know that it is always in good
iste from nine to five, and always in sea-
in. In the autumn and winter months
ou can open the lower buttons of the skirt
jhd show underneath a bright red flannel
jetticoat. A small red beret and red mittens
Rich are inexpensive make excellent ac-
isssories. In the late winter, replace the red
iannel with a gay print petticoat, wear a
Matching scarf and it’s spring! Spring-into-
ijmmer you can use the skirt with a vest
,r suspenders and wear the coat with a
leated skirt. There’s really just no limit to
[lie flexibility of flannel.
“I happen to like black faille (again,
,ou may prefer another color, perhaps
javy, gray or biscuit) . So when I planned
!iy European wardrobe I selected a four-
iiiece black faille costume: a slim skirt, a
ill skirt, a wrap-around jacket with push-
p sleeves for late afternoon and a strap-
less top with shoestring shoulder-straps for
iirmal wear. I often wore the full skirt
yer the slim skirt and on occasions over
11 fancy petticoat.
“With black faille, the perfect accessory
ihould be in white or pink. A small white
at with white gloves looks neat and
sminine. For myself, I always insist upon
eeping the basic color basic and use color
nly in accessories.
“As for accessories, a good rule is to re-
Jeat a color or pattern at least once in every
ostume, coordinate your gloves with the
carf, your bag with your shoes, or your
at and gloves.
I “Hats are coming back, but very small
nes — the little beret, the small stitched
loche of the same material as the dress or
uit, the little bandeau. In order to be com-
letely groomed, you must wear something
n your hair — if only a flower or a veil.”
A very good example of a round-the-
lock wardrobe is the one designed for
iarbara Rush when she visited New York,
iill Thomas of U-I was responsible, and the
ostumes were stunning.
“She had a very simple little gray flan-
lel suit with a slim skirt and a loose boxy
oat,” Bill says in describing the wardrobe.
She had just two little hats — one dressy
nd one semi-dressy. For late afternoon, I
designed a white organza ankle-length
Iress that was embroidered in rust and
>lack. For a wrap, Barbara wore a thin
'lack wool jersey bolero with push-up
leeves. For formal occasions, we chose a
trapless blue net in floor-length. I’m all
or long formals; they make you feel
Iressed up, festive. As for jewelry, wear
ust a single strand of pearls with a for-
nal. You can’t ever go wrong with pearls
—unless you wear too many of them. In
act, one of the big fashion don’ts is: Don’t
■ver wear too much jewelry. Too much
if anything detracts.
“For unreasonably warm weather, we
nade Barbara a very gay black and white
becked gingham to wear over a bright
>lue cotton petticoat. Another good sug-
gestion for late Spring is a little navy cot-
on dress with a wide white collar, polka
lot gloves and matching scarf. Add plain
>earl earrings, small ones, and you’ve got
i wonderful basic outfit.
“Barbara wore the gray flannel suit with
i small-collared white blouse and a tiny
)lack felt hat, black kid shoes and kid bag
ind, for fun, red gloves to catch the eye.
V touch of color is wonderful, but never
ise more than three — for instance, a white
Designs on You
blouse, black shoes and bag and red gloves.
This does it. I’m partial to white around the
face — there’s nothing more flattering.
“If you’re budget-conscious, separates
are your answer. Instead of putting a lot
of money into one formal, for instance, get
a few separates and mix them up.
“Julia Adams knows how to use separ-
ates. She has four skirts, pencil-slim (she
also has a divine figure) and four full
skirts in bright tomato red, blue, yellow,
and green which she wears around the lot
when working. By alternating the colors,
she always looks trim and tailored and
never the same.
“For a girl with a modest budget, I
wouldn’t suggest such bright colors as to-
mato red (Gee, she’s got that red skirt on
again!), but instead one cotton skirt in a
solid, softer color, or perhaps a small print
or a plain dark faille.
“Scarves make interesting belts. So do
Dad’s ties. If he has a couple that look
alike, you can use them as suspenders held
in place with gold-plated safety pins.
“Teens look wonderful in full or semi-
full skirts, provided they’re never, never
seen wearing flats with them. With baller-
ina skirts, always wear a medium heel.
With slim and not-so-slim skirts a big
don’t is: Don’t wear them too tight. You’ll
look more feminine and graceful if your
skirt fits just a little easy.
“After all, a girl’s fashion aim should be
to look feminine.
“Says Piper Laurie, ‘I believe that women
should look feminine always — and every-
where. On the beach, in the kitchen, on
horseback, in the office as well as in the
ballroom.’ She’s right, too.”
M-G-M’s Helen Rose has very definite
ideas about clothes. “Money, where good
clothes are concerned, is not important at
all. Smart fashion is simply a matter of
patience and planning,” she insists.
“Most of us are guilty of a very horrible
thing. We go through a store, see a dress
(‘A bargain, my dear, marked way down’),
buy it because it’s a bargain and take it
home. Only then do we realize that we
have nothing to wear with it — no shoes, no
bag, no scarf, no gloves!
“A girl should shop only twice a year —
in April, again in August, the time of the
big sales — and shop only after she’s studied
the fashion magazines, window-shopped
and thought it over. Women buy too many
clothes. If most of us cut our wardrobe in
half we’d come out better-groomed for the
simple reason we’d take better care of our
clothes.
“When we design clothes for a picture,
everything is thought out, down to the last
accessory, before scissors are put to the
cloth. In ‘The Last Time I Saw Paris,’ Eliza-
beth Taylor had some twenty-seven changes
and each one was planned to fit Elizabeth’s
circumstances at the time she wore it.
“Another thing we do at the studio is
start every dress with a foundation — a bra
and a cinch combined. A good foundation
is important.
“I realize clothes for pictures are quite
different from clothes for everyday wear.
Yet if a girl would diagnose her wardrobe
as we do for pictures, she’d save money,
time and look wonderful.
“To be well-dressed, a girl must use her
head. The first rule of building a wardrobe
is to make sure you have the appropriate
costume for the time and place. Rule num-
ber two is make sure your clothes are in-
terchangeable so that a few things do the
work of many.
“For late spring-into-summer, my fav-
orite mix-and-mingle outfit is a black linen
strapless dress, black linen jacket, cocktail
sweater in black or white, white crocheted
gloves and pearl earrings. With the jacket,
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105
you can wear the dress to the office in the
morning. If, unexpectedly, you go out after
work, you can remove the jacket, put on
the sweater and you’re ready for dinner. At
dinner, you can remove the sweater and
you’re bare enough for formal. With no
trouble at all, you have three different out-
fits for three different occasions. A smart
trick is to carry your sweater in one of
those big baskets that are both useful and
smart.
“The most important thing to me in de-
signing clothes is not whether the skirt is
long or short or whether it is sheath or full.
The important point to always remember
is that fashion begins with the woman her-
self. If a girl isn’t tidy in her thinking, I
can do nothing for her. But if, like Lana
Turner she is tidy in her person and her
thinking, if she’s proud of her skin, of her
figure, and, in short, has pride in herself,
you have something to build from.”
Jean Louis, who incidentally designed
Marlene Dietrich’s famed “nude” dress for
her night club engagement in Las Vegas,
believes that this year, “The working girl’s
salvation is the jumper dress. He likes a
thin black or charcoal gray wool worn with
a white blouse or a turtle-neck sweater
and matching stole. In the evening, she
has only to take off the blouse or sweater
and she’s set for any date, anywhere.
“The decollete dress with a little jacket
over it, linen for summer, wool with a vel-
vet jacket for winter, answers the same
dual purpose as the jumper,” Jean Louis
says. “Tweed, which is so popular and so
good-looking these days, is perfect for win-
ter and is in good taste around the clock.
Herringbone is always excellent.
“As for specifics, I feel cold colors ( blues,
grays, greens, white) are for brunettes;
warm colors yellow, brown, orange, some
shades of pink, red) are for blonds.
“Overweight girls should wear dark
colors and the dressmaker suits or dresses
that play down their size. Tailored suits
are bad on girls with large busts and hips.
For them, the coat dress is particularly
good.
“One good tip: After you are finished
dressing, take a good look at yourself in
the mirror and take off all the extra gim-
oracks that spoil the outfit!”
Charles Le Maire of 20th has a simple
formula for a basic wardrobe: He suggests.
“Two suits, perhaps in tan and brown or
blue and gray. Two coats, one for sports-
wear, one for dress-up. As for color, keep
in mind the color selection you’ve made for
your suits. A basic dress, without adorn-
ment, that can be dressed up with jewelry,
scarves and belts. Then add two wool
dresses, and as many sweaters, blouses and
skirts as you can afford. For accessories,
you’ll need one leather carryall pouch and
matching kid shoes and one suede or velvet
dressy bag worn with very simple pumps.
Remember, color is the key to a well-de-
signed and balanced wardrobe. Make sure
your clothes and accessories are coordi-
nated.”
A few do’s and don’ts that should be of
benefit to girls of all ages and occupations
are these suggested by top Hollywood de-
signers.
1. For the slim, not-so-slim and teen-
agers, the ballerina skirt is the best thing
that’s happened in fashion in years. It’s
graceful. It sits well. It moves gracefully.
And whether it costs $4.95 or $49.94, there
is nothing more attractive to the legs or
provocative to the male than a wide skirt
with little ruffles peeking out at the hem.
With full skirts go medium heels, no flats.
2. Shoulder pads are optional. Most girls
don’t need them. On Elizabeth Taylor, with
her lovely shoulders and well-developed
bosom, pads would detract from her figure.
On Donna Reed, who also has a beautiful
figure, a little lift to the shoulders looks
good. So, go to your mirror and experiment!
The rule to follow is, the girl with the long
slender neck can wear them; if your neck
is short, they probably will make you look
as though you’re hiding your head in your
shoulders.
3. Strapless dresses don’t look too good
on teenagers, look better on older girls.
However, no one should wear them if her
shoulders and back are not perfect.
4. Good fashion needs a good founda-
tion. Make sure your foundation garments
are well-fitting. Never wear a strapless
dress without a good strapless bra.
5. Sheath dresses are difficult to wear and
only girls with a great deal of poise and
style should wear them. To wear them
properly you should know how to use your
body. This is the reason most teenagers
don’t look good in sheaths. If you’re tired of
the ballerina, the permanently pleated
wrinkle-resistant Dacron skirt is an attrac-
tive compromise. Pleats are pleasing and
provacative.
6. Skirt length depends upon you — and
has for the last ten years. If your legs are
not good, don’t wear too-long skirts. It calls
attention to them.
7. You’re overweight. The best advice is
to loose it, second best is to remember
never to wear broad belts; wear narrow
ones and of a color that blends in with
your skirt and blouse. For the chubby, the
contour belt is the best of all, since a
straight line around a wide waist adds
inches. You’ll find adding a medallion, for
instance, or a small change purse, a gold
or copper piece takes eyes off the ’spanse of
your waist and makes it seem smaller. The
WHO ARE YOUR FAVORITES?
In color I want to see: actor:
(1) (I)
(2) (2)
I want to read stories about:
(1) (3)
(2) (4)
Send your votes for the stars
you want to see in photoplay
actress:
The features I like best in this issue of Photoplay are:
(2)
(3)
(4) .
(5) .
(6) .
P
106
NAME
ADDRESS . ACE
Paste this ballot on a postal card and send it to Readers' Poll
Editor, Box 1374, Grand Central Station, N. Y. 17, N. Y.
neckline of blouse or dress should be smai
trim and tailored — definitely not round, lo
or boat shaped. Also stay away from shet
tops. Overweight should be covered up.
trick to remember is that overweight ca
be camouflaged to some extent by wearir
the next size larger than you usually do.
you’re a 15 wear a 16, for the minute thinf
get too tight on a heavy girl, she bulge
Keep your colors neutral, or dark; flamii)
reds call attention to any kind of figur
Dressmaker suits and dresses look best o
the heavy figure.
If your ankles are thick, wear plai
pumps, the simplest available. And neve
toeless shoes, nor ankle straps (this is tru
of slender ankles, too). They break th
lovely flowing line to the calf. With dar
suits and dresses, wear dark shoes. Wit
light evening gowns, nude color. And shoe
and hose should always match as exactl
as possible.
8. For the thin girl, full skirts are the bes
Very wide belts look terrific as do blouse
with big full flowing sleeves, round lo1
necklines and scarves that tie and float. ,
slender girl looks wonderful, too, in a tig!
skirt with a big full flowing blouse. Sb
can also wear large buttons, more detai
stripes and patterns, long full sleeves, an
three-quarter sleeves. The important thin
is to be careful that her arms are not hang
ing out of two-short sleeves.
9. That one basic dress certainly doesn
have to be black. “I know many blackhaire
girls I wouldn’t dream of putting a blac
dress on — their skins are not clear enougl
There are also blonds with very dark com
plexions who would look drab in black. 0
someone like Arlene Dahl, with her brigl
red hair and very fair porcelain skin, blac
is stunning. I also put fushia, tangerine, a
shades of pink on Arlene. But unless you
complexion is clear, stay away from the
basic black,” says Charles Le Maire.
10. For the tail girl, two-piece dresses an
suits are terrific — especially in contrastin
colors. They bring the tall girl down. Bell
are good, too: they cut the figure in th
middle. Grace Kelly is a tall girl. “For ‘Res
Window’ I designed Grace a cocktail-intc
dinner dress which had a fitted bodice c
black silk jersey and a skirt, worn oVe
multiple petticoats, of white silk orgam
embroidered in sprays of black jet an
straw and a black patent leather belt. Sh
looked stunning,” emphasizes Edith Heai
11. Always remember clothes have to f
properly! If you have a fitting problen
treat yourself to a couple of sewing les
sons — it’s worth your effort (When Jea
Louis designed Marlene Dietrich’s famoi
nude gown she flew in from New Yor
once a week for ten weeks for fittings!).
12. And remember, too, that smart fash
ion begins with the person. Good fashio
means proper make-up, a correct hair-di
shining hair, a sparkling eye. It mear
everything is clean, well-pressed. It mear
white blouses, white clean gloves, shinin
black shoes . . . freshness and femininit;
For an example of this, just study Mit
Gaynor. She’s done for teenagers wh:
Loretta Young and Gene Tierney did fc
the older woman.
“In parting, I would like to suggest th;
all you girls take everything out of yoi
closet. All your dresses, coats, suits, hat
shoes, gloves. Everything. Lay them clock
wise on the floor, sit down in the midd!
and with pad and pencil take inventor;
Separate the things that can be used fc
spring, such as skirts that can be wor
with sweaters and jackets, then put awa
everything that can’t be worn until fall. Pr
away, not give away, because clothes coir
back into style. Then take what remair
and start developing your own wardrob
coordinating your accessories and gettin
your outfits into shape. You will never as)
‘What can I wear?’ ” says Le Maire.
The End
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PHOTOPLAY
MARCH, 1955
FAVORITE OF AMERICA S MOVIEGOERS FOR OVER FORTY YEARS
HIGHLIGHTS
Honeymoon on the Heavenly Side (Pier Angeli) . Beverly Ott
Is He Your Type? (Inside Stuff) Cal York
Hi, Debbie, I’m Talking about You (Debbie Reynolds) . . . Jeanette Johnson
Pursuit of Happiness (Marlon Brando)
Say It with Flowers Rena Firth
My Son, Your Years Become You (Rock Hudson) Mrs. Kay Olsen
An Engagement— The Long and Short of It Sheilah Graham
Van Johnson Learned No Man Walks Alone Dee Phillips
What’s the Difference! (Tony Curtis, Janet Leigh) .... Joseph Henry Steele
My Hawaiian Diary Tab Hunter
I’m in Love with a Wonderful Guy (Guy Madison) . . Sheila Connolly Madison
Memo to My Husband: (Danny Kaye) Sylvia Fine Kaye
She Was a Prisoner of Fear (June Allyson) John Maynard
Audrey Hepburn — the Girl, the Gamin and the Star Radie Harris
Announcing Photoplay’s Award Winners of 1954-55
Photoplay Star Fashions
“20,000 Leagues Under the Sea”
Needle Novelties
He-Man Calhoun (Rory Calhoun)
Announcing! Hollywood Fashion-of-the-Month Contest
STARS IN FULL COLOR
Race Gentry 34
Robert Wagner 34
Jack Kelly 34
Jeff Chandler 34
Gordon Scott 35
Jeff Hunter 35
Debbie Reynolds 37
Terry Moore 40
Janette Scott 40
Betty Grable 40
Doris Day 41
Pier Angeli 41
Jane Powell 41
Elizabeth Taylor .
Rock Hudson
Van Johnson
Janet Leigh
Tab Hunter
Guy Madison
SPECIAL EVENTS
Hollywood Whispers . Florabel Muir
Impertinent Interview (Bob Wagner)
Mike Connolly
That’s Hollywood . Sidney Skolsky
Laughing Stock . Erskine Johnson
Brief Reviews .
4 Hollywood Parties . Edith Gwynn
Readers Inc
6 Let’s Go to the Movies . Janet Graves
8 Turn of a Career . . . John Derek
10 Casts of Current Pictures ....
112
Cover: Color portrait of June Allyson, next in Paramount’s "Strategic Air Command,1
U-I's "The Shrike" and Warners' "The McConnell Story” ; by Blackwell, Jr.
Other color picture credits on page 84
EDITORIAL STAFF
Ann Higginbotham — Editor Rena Firth — Associate Editor
Ann Mosher — Supervising Editor Janet Graves — Contributing Editor
Evelyn Savidge Pain— Managing Editor Margery Sayre — Assistant Editor
ART STAFF
Ron Taylor — Art Director
Norman Schoenfeld — Assistant Art Director
FASHION STAFF
Lillian Lang— Fashion Director
Hermine Cantor — Fashion Editor
HOLLYWOOD
Sylvia Wallace — Editor
Contributing Editors: Maxine Arnold, Jerry Asher, Beverly Ott, Ruth Waterbury
Photographer: Phil Stern
MARCH. 1955
VOL. 47, NO. 3
PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications. Inc., New York, N. Y.
EXECUTIVE, ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street, New York 17, N. Y.
Editorial branch office, 321 South Beverly Drive, Beverly Hills, Calif. Harold A. Wise, Chairman of
the Board; Irving S. Manheimer, President; Lee Andrews, Vice-President; Meyer Dworkin, Secretary
and Treasurer. Advertising offices also in Chicago and San Francisco.
SUBSCRIPTION RATES: $2.00 one year, U. S. and Possessions. Canada $2.50 one year, $4.00 per
,Ul . . year all other countries.
CHANGE OF ADDRESS: 6 weeks' notice essential. When possible, please furnish stencil- impression
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Write to Photoplay, Macfadden Publications, Inc., 205 East 42nd Street. New York 17, N. Y.
MANUSCRIPTS DRAWINGS AND PHOTOGRAPHS will be carefully considered, but publisher cannot be responsible
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Reentered as Second Class Matter klay 10, 1946, at the Post Office at New York, N. Y., under the Act of
March 3 1879 Authorized as Second Class mail P. O. Dept., Ottawa, Ont., Canada. Copyright 1955 by Mac-
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Propfedad Literaria y Artistica. Title trademark registered in U. S. Patent Office. Printed in U. S. A. by Art
Color Printing Company.
Member of True Story Women’s Group
2
HIGHLIGHTS: Four fighting brothers! The shotgun
wedding! The family free-for-all! Girl rescues sweet-
heart from jail! Trapped by Indians! The swimming
scene— she captures his clothes and gun! The girl
needs a spanking— who will do it?
She’s the most
IMPATIENT MAIDEN
IN THE VIRGIN WEST
BUT HE’S
NOT THE
MARRYING
KIND...!
M
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Cinemascope
and COLOR!
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M-G-M’s
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RobertTaylor -Eleanor Parker
With U
VICTOR McLAGLEN * RUSS TAMBLYN • JEFF RICHARDS • JAMES ARNESS
Screen Play by
HARRY BROWN and GUY TROSPER
Based on a Story by
’ STEVE FRAZEE
Photographed in
Directed by Produced by
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WHISPERS
BY FLORA BEL MUIR
THE NEW interest in Linda Christi;
life, Robert Schlesinger of New Y<
who brought along a diamond neck)
to hang around the neck of Tyr
Power’s ex when he came to Hollyw
to see her. Bob’s the son of the fai
best-dressed Mrs. Harrison Willia
and his arrival in Hollywood, insic
aver, contributed no little to the 1
gard look that Edmund Purdom’s b
wearing. Incidentally, the whispe
are whispering, the settlement betw
Linda and Ty only goes to prove ai
that a girl can still feather her i
quite plushily by picking a star-
right star — to wed. She came out
marriage with a $150,000 mansion,
in it, plenty of cash and a big inco
•
About two performances not yet j
erally seen on the screen that have
tongues wagging about ’56 Oscai
Eleanor Parker playing Marjorie L
rence in “Interrupted Melody”
James Dean in “East of Eden.” .
Lori Nelson’s skilled dangling of
of the more sought-after your
swains. Tab Hunter and Wayne I
lory; Wayne being the kid brothe;
Guy Madison. Even her pals can’t
sure which she prefers. . . . And
way Phyllis Gates, the pretty secre
to agent Henry Willson, walked
with one of the town’s prize catc
Rock Hudson. Rock fell in love w
chatting with Phyllis in the outer o
of Willson who is his ten per cer
. . . The continuing mutual devotios
Johnnie Ray and Marilyn Morri
. . . The way Barbara Stanwyck is 1
ing a helping hand to U-I’s upcon
young player, George Nader, and c<
an aspiring actor find a smarter men;
•
About the report that Leslie Ci
and Robert Petit are thinking marr
thoughts, now that Leslie’s just bee
a free marital agent. But her cl
pals advise: discount it.
Is pert Leslie Car on hiding a romantic se
4
BING GRACE WILLIAM
CROSBY • KELLY • HOLDEN
Even all the excited talk
you have heard about this
picture will not quite prepare
you for the impact of its
drama . . . and its three
triumphant performances!
How far
should a
woman go
to redeem
“The Dramatic Thunderbolt
of the Year!”
—Look. Magazine ^
“May Win Bing
Another Oscar!
— Life Magazine
Produced by WILLIAM PERLBERG
Written for the Screen and
Directed by GEORGE SEATON
From the play by Clifford Odets
A Paramount Picture
in A PERLBERG-SEATON Production
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Bob speaks up about the crazy town that's Hollywood
IMPERTINENT INTERVIEW
BY MIKE CONNOLLY
“what does a guy like you think
about?” I asked Bob Wagner.
“You mean what’s on my mind? All
the jumpy, disconnected thoughts?” he
shot back.
“You talk,” I said. “I’ll write it all
down.”
“Well, I was driving down Beverly
Boulevard the other day and there was
a beautiful blond sitting on the street
corner bench waiting for a bus, so I
slammed my foot on the brake. But
then the thought suddenly struck me:
I can’t do this — I’m a movie star.
“I also think about what I want out
of my career. I want to be financially
independent. Not that I think money
means happiness — you can be de-
pressed and be poor, too, you know.
But I would rather be depressed and
loaded.
“The columnists tied me up with
every girl in town. They had me out
with Mona Freeman many times before
we finally got together. When I finally
got up the nerve to ask Mona for a
date, I said, ‘I see by the papers we’re
going out these days, so why don’t
we?’
“It bores me to be around people
who aren’t stimulating. I find it diffi-
cult to be around people who can’t
contribute anything to a conversation.
So I try not to travel with dullards.
“I never liked school. I’ve never
been too much of a ‘group’ kind of guy.
I’ve always hated being in groups and
joining this club and that — always
joining, joining, joining. I’d heard it’s
a good idea to join groups because of
the contacts that will be valuable later
in life. But that’s a lot of bunk. Oh,
I guess it’s all right for professionals,
like doctors and lawyers, but not for
actors.
“Hollywood is a crazy town. Oh, I
think about this one a lot! There’s i
pattern for success here. The thin,
you think are the wrong things to <
turn out to be the right things to d
“Most fans think I became a st
overnight because of my small bit
‘With a Song in My Heart.’ It isi
true. Before I signed up at 20th Ce
tury-Fox I worked at every studio
town.
“I was doing background bits ai
extra roles when my agent, Hen
Willson, took me to 20th. They sign
me to a ninety-day test option. Di
ing that period I was supposed to
studying for a big screen test,
studied, all right, but I also broke
rule and went over to another stud
M-G-M, to test for a picture cal]
‘Teresa.’ John Ericson got the p;
But in the meantime, a Los Ange
columnist printed an item to the eff
that ‘a dark horse named Bob Wag]
may get the leading role in “Teresa
The powers-that-be at 20th read
item. They rushed my test through i
four days instead of ninety days. F<
weeks later they had me playing
important role with Dick Widmark
‘The Halls of Montezuma’!
“They put me in another import I
role in ‘Let’s Make it Legal’ as S'
as ‘Montezuma’ was finished. Noth
happened. I got fair reviews from
critics but nothing sensational. T
Susan Hayward was signed by
home lot to make ‘Song in My He ;
and they gave me a much smaller :
in it than I’d had in either ‘Mo
zuma’ or ‘Let’s Make it Legal.’
“Yes, it was a small role. Bu
was the right time and the right bn
It was the break. The first week
the picture was in release I got twt
thousand fan letters! I was on
way. Yes, it’s a crazy town.”
6
a"d the
»>8ht he
teamed
w about
THE BEST-SELLER
THE NATION
COULDN’T
PUT DOWN—
ABOUT
YOUNG
PEOPLE
IN LOVE
WHEN
THE BATTLE
IS FAR AWAY..
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SCREEN PLAY BY
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p
James Dean, a neu> grunt man ?
Doris Day, here with Marty, always looks as though she’s been scrubbed, says Sid
THAT’S HOLLYWOOD FOR YOU
i recognize Grace Kelly’s beauty, ad-
mire her acting technique, believe she
rates an Oscar, yet to be completely
honest, I think she lacks a great requi-
site: warmth! ... To me Debra Paget
is a sweet little girl who shouldn’t try
to be a sex bundle . . . Mona Freeman
tells me: “A woman is well-dressed if
nothing she wears stands out but every-
thing looks nice together.” Mona is so
well-dressed . . . “Gone with the Wind”
put Clark Gable back on the popularity
polls, and I’m glad . . . They’re now
referring to Jimmy Dean as the new
Marlon Brando. To me Marlon Brando
is still new! ... I would like to see
Barbara Bel Geddes in a movie. She’s
been off the screen too long . . Among
the things Mitzi Gaynor brought back
from her honeymoon — the title of ideal
“Draw Me” girl by Art Instruction stu-
dents . . . Mamie Van Doren, always
outspoken and frank, admits she is
slightly bow-legged, but explains it
saying, “I used to play the cello.” . . .
Debbie Reynolds admits that until she
met him, Eddie Fisher’s name couldn’t
be found amongst her huge record col-
lection. Now she’s loaded . . . Doris
Day always looks as if she has been
freshly scrubbed.
The scene between Marlon Brando
and Rod Steiger in the taxi in “On the
Waterfront” is the finest single scene
in any movie this season . . . Burt Lan-
caster laughs a lot off the screen but
admits that he doesn’t laugh enough
on-screen . . . Which reminds me, they
don’t make comedies like they used to.
Remember those Irene Dunne-Cary
Grant, Spencer Tracy-Katharine Hep-
burn gems? ... It used to be that
every comedian wanted to play Hamlet.
Now it seems that every actor wants
to be a singer: Jeff Chandler, Tony
Curtis, Kirk Douglas — to name just
a few . . . And the singers want to
be straight dramatic actors: for in-
stance, Frank Sinatra, Howard Keel
I . . They’re becoming extremely cour-
teous at the neighborhood movie
theatres. A friend informed me he
went to the lobby to buy some pop-
corn and they stopped the movie until
he returned.
Mamie doesn t hide the f
The telephone is a great prop in
motion pictures. It won an Oscar for
Luise Rainer (“The Great Ziegfeld”)
and probably will for Edmond O’Brien
(“The Barefoot Contessa”) ... To me,
Susan Hayward usually looks as if
she’s about to be angry ... I believe
it was Judy Holliday who said she al-
ways has ice cream the same color as
her dress, so if she spills any it won’t
show . . . Tony Curtis and Virginia
Mayo rate my applause, too. Tony won
the George Washington Carver Me-
morial Institute’s annual Award of
Merit, which is presented for outstand-
ing contributions to interracial unity.
Virginia was awarded a recognition pin
from the Daughters of the American
Revolution . . . From the Hollywood
Women’s Press Club, Debbie Reynolds
and Martin and Lewis picked golden
apples for cooperativeness; Doris Day
and Edmund Purdom got the sour ap-
ple award for the most uncooperative
. . . Do you realize that the movie stars
employ doubles to do all their danger-
ous jobs for them except marriage?
That’s Hollywood for you.
8
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BY ERSKINE JOHNSON
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LAUGHING
STOCK
Alan Wilson's telling about an actor
friend who has been on a TV panel show
so long he’s celebrating his fiftieth callous.
The story of the movie producer who
took a cutie to dinner and lavishly wined
and dined her on everything from vichys-
soise to Baked Alaska is being retold.
“It was a wonderful dinner,” the doll
told a friend, “but rather strange. We had
cold soup and hot ice cream.”
Give an actor a death scene and he’s
happy. William Campbell “died” as a
U. S. Marine in “Battle Cry” with the com-
ment:
“Boy, this is really living.”
An Irish Irma heard that Aly Khan had
a castle in Eire. “Oh, yes,” she commented:
“Eve heard of his relative — Lepre Khan.”
Burt Lancaster told it after a series of
jumps, falls and lights in “Apache” with-
out the aid of any doubles:
“Things have changed in Hollywood. A
few years ago I was in a film with a star
who demanded a stunt man.
‘“What for?’ he was asked.
“ ‘Well,’ he said, ‘The part requires a lot
of walking and some of the slopes are up-
hill.’ ”
Overheard: “I never knew he drank un-
til one night he came home sober.”
Overheard: “What’s a girl like you doing
in a nice place like this?”
Overheard : “She’s the type who always
lets the chat out of the bag.”
Hollywood sign language: “Rare Junk
Shoppe.”
During Errol Flynn’s bey-day, three
pretty extra-girls reported to his set, al-
though no extras were required for the
day’s scenes.
“Atmosphere?” Flynn was asked.
“No,” he replied, “inspiration.”
As a couple of hungry unknowns. Dean
Martin and Jerry Lewis got their start on
the star trail in an Atlantic City night club.
A bench on the boardwalk near the club
now commemorates the occasion. A bronze
plaque, dedicated by the mayor, reads;
“Dean Martin and Jerry Lewis slept
here.”
Spike Jones returned to Hollywood after
a lengthy tour of the U. S. with this re-
port: “One town was so small they had a
sign right in the center of it reading: ‘You
are now entering and leaving Powell,
Wyoming.’ ”
Red Skelton on why he likes drive-in
theatres: “The dialogue is great — especial-
ly in the car parked next to you.”
Mail to Greyhound Tour
Dept., 71 W. Lake Street,
Chicago, III. for full-color
Expense-Paid Tour Map.
Name.
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O- It EYHOUND
During a warbling engagement in Las
Vegas, Frank Sinatra wore a green suit in
one production number. Howls from the
audience left Frank quipping:
“What’s the matter — haven’t you ever
seen a skinny pool table?”
•See Erskine Johnson’s " Hollywood Reel”
on your local TV station
10
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Bing double-dates with son Dennis at
“ The Country Girl” preem. Takes Mona
Freeman and starts those rumors again
BY
EDITH GWYNN
RARTY LINE
jumper with a stunning tailored Don
Loper white silk blouse with a high
neck. Terry’s going in for high-necked
dresses — part of her “subdued routine”
as she puts it. (Another gal who’s stick-
ing to the subdued look is Piper Laurie
who showed at a luncheon for Prince
Axel of Denmark in a lovely wool dress
with long sleeves and high neck! Vir-
ginia Mayo’s another gal who looks
good in both high and low necklines,
She wore a high neckline, too, at
Prince Axel’s party.) Terry’s date for
the evening was Nicky Hilton, who
incidentally gifted Terry with a gor-
geous sapphire mink jacket (for no
special reason) the week before. Susie
Zanuck Hakim sported one of those
short and madly streaked French hair-
do’s. The gals seemed to go for it —
so we’re probably in for some rain-
bow-hued heads hereabouts! Terry left
the next day to entertain servicemen.
Janet Leigh and Tony Curtis hosted
Photoplay publisher Irving Manheim-
er and his wife, who were also feted
at a dinner party by producer Stanley
Kramer and his wife with many, many
celebrities in attendance.
Proudest gal in town was Esther
Williams at the City of Hope party
which honored her as top Hollywood
Mother of the Year. Other mommas
like Ann Blyth, Donna Reed, Patti
Lewis, Gale Storm, Maureen O’Sullivan
and Sheila MacRae got some “honors”
too. Jerry Lewis, working with his
usual zest, auctioned off toys and things
and raised plenty money for the chil-
dren who benefited by the affair.
■70 big preems this month. First was
I "he Country Girl,” with all proceeds
Ijing to the Olympic Fund. When it
his over, just about everyone agreed
lit its three stars, Bing Crosby, Bill
blden and Grace Kelly rated Acad-
liy Awards for their performances,
pnong those agreeing were Betty
(able and Harry James; Janet Leigh
<d Tony Curtis; Humphrey Bogart
<d Lauren Bacall; Judy Garland
id Sid Luft; Lana Turner and Lex
1 rker. Bing Crosby turned up double-
ding with son Dennis and his date
( rolyn Wilson. Bing’s date for the
I; evening was Mona Freeman who
bked lovely in a chiffon gown with a
111, full skirt and a delicate beaded
1 1. Most of these and scads more were
i the gala preem of “There’s No
lisiness Like Show Business” a few
)?hts later. And, oh, the raves for
lit one and its topliners! Probably
1; individual hit is Mitzi Gaynor.
1 itzi’s Hollywood stock has soared
uh this picture and she’s in demand
he crazy at all the studios.
I was flabbergasted when, on a few
lurs’ notice, Terry Moore invited me
I what she called an “impromptu re-
iption” suddenly whipped up for her
<um Susan Zanuck and Susie’s groom,
ndre Hakim, fresh in for a visit from
hris. Terry started out to have a few
]ople, ended up with a hundred in-
'ees! She borrowed Jay Robinson’s
luse, which he bought from Dr. Lew
orrill when Rhonda Fleming decided
house was too small a couple
nnths ago. The affair was strictly
<sual. Terry was in wool. A black
It’s all part of the subdued look, says Piper
Janet Leigh hosts Mrs. Irving Manheimer
13
Add/ ess your letters to Readers Inc., Photoplay, 205 East 42nd Street, New York 17, New Y(
We regret we are unable to return or reply to any letters not published in this colu i
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BOURJOIS
♦Created in Franco
Made in U. S. A.
SOAP BOX:
It seems that almost everyone in Holly-
wood is just trying to see who is the
sexiest. I think that Corinne Calvet, Zsa
Zsa Gabor and Marilyn Monroe are just
plain sickening.
What Hollywood needs is lovely Lori
Nelson. I think they should put her in more
pictures. I’d like to see her and it would'
give Hollywood a better name.
Marilyn Newson
New York, New York
Lori’s just what Hollywood needs
I have just returned from seeing the
picture “Twist of Fate.” As you know, it
marks the debut of Jacques Bergerac,
Ginger Rogers’ husband. After seeing him
perform. I’m convinced that he is going to
be one of the biggest stars in the industry.
He is, without qualification, the handsomest
actor on the screen. And his performance
would do credit to a veteran.
Donna Dunn
Ghicago, Illinois
Have you ever noticed: That Doris Day
has the prettiest fingernails in all Holly-
wood . . . That John Hodiak has the
warmest smile of any actor . . . That
Marilyn Monroe has “little” legs and the
biggest smile . . . That Jean Peters is the
very best actress . . . That Marlon Brando
is the best actor in all the world . . .
That Ann Blyth has the prettiest teeth
ever . . . That Rock Hudson isn’t so hand-
some after all . . . That Cyd Charisse has
the prettiest legs in Hollywood . . . That
Ursula Thiess looks like an older Debbie
Reynolds. . . . That Bob Mitchum has the
best-looking haircut in Hollywood. . . .
That Mario Lanza has the biggest and best
voice in his time. . . . That Janet Leigh
has the best figure in the movie business.
. . . That Rosemary Clooney has the pret-
tiest hairdo along with Patti Lewis. . . .
That Jose Ferrer is the actor most girls
most like to meet?
Pat Baker
Whistler, Alabama
In our high school paper, The Growler,
was the following article. We thought you
might be interested.
“Wouldn’t it be nice if: School began at
12 noon; We got out at 1 p.m. with an hour
for lunch; we were awarded cars instead
of grades. ... we had jets instead of school
buses: chewing gum and laughing in class
were required; roll call was never called:
Monday morning wasn’t; skipping
was a course; we had a faculty lik
English-Debbie Reynolds, Rory Ca
Science — Jane Russell, Rock Hudson
guages — Zsa Zsa Gabor, Fernando 1
Chemistry — Boris Karloff ; Speech — T
Bankhead, Edward G. Robinson; ft
Doris Day, Howard Keel; Physical
tion — Marilyn Monroe, Burt Lan
Drivers’ Education — Marlon Brando.
It would be nice, wouldn’t it?
Mary Heney, Margilyn .
De Land, Florida
On page 24 of the January 1955 1
play, Jean Simmons calls Marlon
“the most exciting actor there is
Jean, how can you say this after ].
opposite Richard Burton in “The 1
Please reconsider!
Mrs. Burton Blakele;
Thamesville, Ontario, I
I would like to say a few words
preciation of such rising stars as ,|
Dalton and Richard Anderson who t<
time to sign photographs personally
a great movie fan and was highly h
when I received autographed photc
from Audrey and Richard. It wouL
good thing if more stars follower
example.
Ann Brooks
Berkeley, Ca
Steve Cochran was very convim
the heel in “Carnival Story” — to
vincing!
Mauree
Gary, Ii
A recent magazine photo of
Thompson that was shown to me vi
tioned to the effect that our new l
was now living in the sticks with
but rattlesnakes for companions. P
your November Photoplay, I see tl
dwelling alone in an “isolated” c
Admittedly, Topanga is not
New York. However, we have appro
ly 4000 people residing here. We
short drive from Los Angeles, a city
probably heard of. We have about ;
nesses here, wide-awake civic assoc
two churches and four church grou
As you have probably gathered,
many others) become quite disturbe
this growing community is advertis
Continued on [.
14
Gwen was still laughing when she
hung up the receiver. Jane looked on
incredulously. "But he has a car , good
looks, a good j oh," she protested. "So
what?" Gwen sneered. "He’s got some-
thing else, too .. . something that nulli-
fies every charm.”
Jane still looked blank.
"I mean, honeybun,” Gwen said
seriously, "that his breath is that way*.”
You simply don t get by when you’re
guilty of *halitosis (bad breath).
Remember, too, that men are often
the worst offenders. Isn’t it just com-
mon sense to use the surest thing
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You see, far and away the most
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longer, the more you reduce germs in the
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Listerine Clinically Proved
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No tooth paste, of course,
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Listerine kills rhem by mil-
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Is it any wonder Listerine Anti-
septic in recent clinical tests averaged
ar least four times more effective in
stopping bad breath odors than the
chlorophyll products or tooth pastes
it was tested against? With proof
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Every week on Television
"THE ADVENTURES OF OZZIE & HARRIET'
*~sst
p
APTAI N
THE BRILLIANT YOUNG STARS
OF “MAGNIFICENT OBSESSION”
their love was
like a hungry
flame sweeping
the wind-lashed
moors, blazing
With KATHLEEN RYAN ♦ FINLAY CURRIE • DENIS O’DEA • GEOFFREY TOONE • Directed by DOUGLAS SIRK
Screenplay by W. R. BURNETT and OSCAR BRODNEY • Story and Adaptation by W. R. BURNETT • Produced by ROSS HUNTER
READERS INC,
<
continued from page 14
choice rustler’s hideout, a rattlesnake
or just plain “isolated.”
We will forgive you to some extei
cause of the inserted expression “b
ful Topanga Canyon.” It is — very!
Harold E. Ro
Topanga, Cali:
I realize that because of all the bal
“A Star Is Born” is receiving, Judy
land will probably win the Academy f
for being the best actress of the yea
for my money, Elizabeth Taylor de;
it for her magnificent acting in “The
Time I Saw Paris.” She went from
vivacious and gay to being sweet
dreamy and finally to being sad an
comparably beautiful with never one
ing the spellbound attention of her
ence. I defy anyone to say Liz is ju;
other beautiful girl with no talent
seeing this movie! The script was ;
Van Johnson was terrific and Liz wai
standing!
Marilyn Kraft
Michigan City, In
CASTING:
I know Rory Calhoun would like tc
a role with his wife, Lita Barone, an
perfect vehicle for them both would l
book, “The Comancheros.”
Marlene Caton
Winsted, Conne
How about Rory and Lita as reel-life rom
I have just read the book “The 1
Cavalier,” by Samuel Shellabarger, <
think it would make a very exciting r
casting as Blaise — Guy Madison, f
Joan Weldon, Renee — Maureen Swe
Pierre — Gabriel Woolfe, and as Jea
Norville — Carlos Thompson.
Helen Hugh:
Lincoln, Calil
I just finished reading Francis P;
son Keyes’ wonderful book “Steal
Gothic,” and all the way through I th
what a wonderful movie it would
with Montgomery Clift as Clyde Bati
and Janet Leigh as Lucy.
Sally Brii
Boynton, F
Since Bibical stories are so popular
days, why doesn’t someone make the
of Ruth? They wouldn’t have any ti
casting it. Elizabeth Taylor would m
perfect Ruth, with either Richard I
or Charlton Heston as Boaz.
Deborah B
Houston, 1
We have just read “They Lovi
Laugh” by Kathryn Worth. In our 0)
it is one of the best books ever w
and it contains many parts that wou
highly adaptable to the screen. Fc
players we would like: John Deri
Continued on pa
M
16
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continued from page 16
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READERS INC.
Jonathan, Robert Francis as Milton, Jeffrey
Hunter as Clarkson, Russ Tamblyn as Bar-
zailli, Ben Cooper as Addison, Ann Blyth
as Martitia, Debra Paget as Ruth, Spencer
Tracy as Dr. Gardner, Irene Dunne as Mrs.
Gardner, and Edmund Gwenn as Grand-
father.
Larena O’Neal, Barbara Modawell
Brownwood, Texas
I think that Zane Grey’s “Wildfire” would
make an excellent movie with Guy Madison
in the male lead and Joan Weldon playing
opposite him.
Nancy Niedrinchans
Creve Coeur, Missouri
Why isn’t a movie made from “The Tur-
quoise”?— a magnificent novel which would
be a great movie starring Jennifer Jones and
Charlton Heston.
Mrs. Nedra Perry
Muskogee, Oklahoma
Jennifer’s the star for the part
I believe if some studio produced one of
Frances P. Keyes’ books with an old Loui-
siana background, such as “Steamboat
Gothic,” “River Road” or “Crescent Carni-
val,” they would have a show ... as great
and grand as “Gone with the Wind” . . .
Carol Gray Lynn
Pacific Grove, California
I have just finished James Street’s novel,
“0 Promised Land!” and I think it would
make a terrific movie starring Rock Hud-
son as Sam, Susan Cabot as Honoria, My-
ron Healy as Ab and Julia Adams as
Donna. Hope some studio thinks I’m right!
Rosemarie Chaney
Massillon, Ohio
I’ve been hearing all sorts of rumors
about Hollywood’s ideas for filming the
Rodgers and Hammerstein classic “Carou-
sel.” In my opinion no studio but M-G-M
should film this play, no director but
Mervyn LeRoy should supervise the film-
ing and no stars but lovely Ann Blyth and
Howard Keel should re-create the roles j
of Julie Jordan and Billy Bigelow.
Janet Chapman
Seattle, Washington
I’d love to see 20th Century-Fox do
Kathleen Winsor’s “Star Money” with
Susan Hayward as Shireen, William Hol-
den as Ed, George Sanders as Paul W orth,
Celeste Holm as Georgia and Rory Cal-
houn as Johnny. That would really be
something.
Francis Young
Old Orchard Beach, Maine
I have just read a book entitled “A
Stone for Danny Fisher,” by Harold Rob-
bins. The part of the main character,
Danny, would really be something for John
Continued on page 23
Cinemascope
It reaches
from
West Point
Out of the heart of the Army
came "From Here to Eternity"...
Out of the heart of the Navy
came "The Caine Mutiny"... and now, out of
the heart of all America comes "The Long
Gray Line"! If you're looking for true great-
ness in motion picture entertainment,
you'll find it in this true-as-life
story that's filled with
thrill and tenderness . . .
laughter and love!
DIRECTOR
JOHN FORD...
winner of four
Academy Awards
calls this his
“greatest
achieve-
ment”!
TYRON
II O'HARA
ir. JOHN FORD’S
lA W
TECHNICOLOR
ROBERT FRANCIS • DONALD CRISP • WARD BOND • BETSY PALMER • PHIL CAREY
Screen Play by EDWARD HOPE • Based upon "Bringing Up the Brass" by Marty Maher and Nardi Reeder Campion
Produced by ROBERT ARTHUR • Directed by JOHN FORD • A COLUMBIA PICTURE
T
LET’S GO TO THE
MOVI ES
WITH JANET GRAVES
EXCELLENT ///VERY GOOD //GOOD l/FAIR
20,000 Leagues Under the Sea
DISNEY ; C1NI
SCOPE, TECHNIC!
V'V'V'V' Pure adventure fills the screen in Walt Disn
heartily satisfying translation of Jules Verne’s sciei
fiction classic. While camera magic and mechanical v
ders entrance your eyes, an expert cast headed by Jai
Mason and Kirk Douglas keeps your emotions invob
The time is 1868. and a weird sea monster is preying
Pacific shipping. As a lusty, brawling harpooner, Kirk is
an American warship sunk by the monster. He soon fi
that it is no living creature, but a “submarine boat.” 'W
scientists Paul Lukas and Peter Lorre, he is taken abo
the sub. Their fate is uncertain, for the captain (Mas-
is a strange man, a scientist dedicated to revenge aga
an unnamed nation. The rousing action takes place on
under the sea (the latter scenes filmed off Nassau), faj
Mason finds Douglas a rebellious captive ; Lorre looks
Three for the Show COLUMBIA; CINEMASCOPE, TECHNIC!
V'V'V'V' Here’s a fresh, gay tune-film carried by a quarte
lively personalities: Betty Grable, Jack Lemmon, Ma
and Gower Champion. Its theme at first seems unpromis
for comedy, as Betty, a stage-musical star married to
leading man (Gower), discovers that her first husb
(Jack) wasn’t killed in Korea after all. She has commil
legal bigamy, but she enjoys her dilemma, keeping the
boys teetering while she makes a very leisurely choice
tween them. Marge is in suspense, too, because she o
fancied herself in love with first Jack, then Gower. Mus
interludes are woven neatly into the farce situations. D
point in hilarity comes when Jack, Gower and Betty do
all around a duplex apartment in a sequence that comes
lightfully close to a dance, yet can’t be classified. fai
Jack’s in no mood for a party; Betty, Marge and Gower i
The Far Country «-i, technic
VVV'V' Like James Stewart’s “Bend of the River,” his :
film is a good, vigorous Western, done with appea
simplicity and skill. Though the story’s setting is old-t
Alaska, most of the picture was shot in Canada’s Jas
Park, a magnificent background for the action. Jimmy
partner Walter Brennan take a herd of cattle- to a ren
community where beef commands a high price. But t!
get -rich-quick scheme is blocked by jovial John Mclnl
whose gang of hoodlums has terrorized the territory. E
when respectable citizens ask for Jimmy’s help, our h;
bitten hero insists he’s strictly out for himself. He’s jus
cavalier with a pretty tomboy (Corinne Calvet) and a g
bling-house owner (Ruth Roman). As experienced me
goers wait for him to see the light, tension mounts. fa
When Jimmy’s downed by gunshot wounds, Corinne plays n i
MORE RFVIEWS ON PAGE 28 •
FOR COMPLETE CASTS NEW FILMS SEE PAGE
20
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 112
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22
One show changed John's life
TURN OF A CAREER
BY JOHN DEREK
When I first went into pictures, I’m I
afraid I didn’t take them very seriously.
True, I attended dramatic school . . .
and caught up on my sleep during class.
Then I went away to war and, when
I returned, my outlook on life was a
serious one. I began to concentrate on
my career. I went to work in earnest.
I was at 20th Century-Fox for a while, I
mostly in more classes. And although
this time 1 stayed wide awake, my
option was dropped. However, not be-
fore I met my wife, Patti Behrs.
When Columbia signed me for the
role of Nick Romano in “Knock on Any
Door,” I seemed to be going great guns,
so I left Columbia and struck out on
my own. But very little happened. My
career went downhill, then hit bottom.
One night my agent called. He asked I
if I would be interested in doing a
Lux Video Show. They were producing i
“A Place in the Sun” and I was wanted J
for the Montgomery Clift role.
I thought about it. The scenes in
movies are short. You know that they il
can always be re-shot if you Hub a
line. A television show would mean
learning an hour’s worth of dialogue at
a time, sustaining a characterization.
And what happened if I couldn’t re-
member the lines? I gave my agent a
reply. “No,” 1 said.
“Think it over,” he suggested.
Patti didn't rush or push my decision. ,1
She knew it was something I had to
settle for myself. She did let me know
that she believed in me. And finally I I
knew that I had to do it. If I didn’t, I
I’d always regret it. The show went on.
That night after the last line had
been spoken, 1 began receiving tele- ||
phone calls and studio bids.
I signed with Paramount. I went into
“The Adventures of Hajji Baba” and
“Prince of Players” for 20th. I did
“The Annapolis Story” for Allied |
Artists.
In that one hour my career had
turned upward. Needless to say, I’m
an extremely grateful guy.
IEADERS INC...
continued, from page 18
t:k to sink his teeth into! He could
\ it all the fire and intensity that is
j ed with just the right amount of re-
nt where and when that is needed, and,
e same time, be tender and gentle. Mr.
; k is the only person I could visualize
tunny Fisher. He is such a fine actor
; he would make you feel he actually is
ny Fisher.
Edith Lippman
New York, New York
I5STION BOX:
( n you please tell me who played the
l le just married in “The High and the
iity” . . . Where can I write to them?
John Sullivan
Birmingham, Alabama
Iren Sharpe and John Smith portrayed
■ tewlyweds. Write to them c/o Warner
j — ED.
Ivould like to know who the female lead
n the first version of “The Magnificent
ission,” opposite Robert Taylor.
Mrs. Gertrude Schimelman
Cumberland, Maryland
! ne Dunne was the femme lead.— ED.
i Bette Davis’ name pronounced Betty
]:t?
Jill Green
Ft. Riley, Kansas
\uy. — ED.
Ivould like to know the name of Jeff
i er’s next movie and who stars wuth
j
Robert Tidwell
Tamparsi, Florida
■h’s “White Feather ,” with Boh Wag-
Debra Paget and Virginia Leith. — ED.
ould like to know who played the part
e little girl Vicki in the movie “The
Time I Saw Paris.”
Jo Ellen Bobay
Fort Wayne, Indiana
Jht-year-old Sandra Descher, some-
1 called Sandy.- — ED.
s anyone recorded Leonard Bernstein’s
the Waterfront” theme music?
Elizabeth Reynolds
Atlantic City, New Jersey
Is. Rudy Denell, for Benita Records.
I.
mid you please tell me if the first
3 of “A Star Is Born,” with Janet
or and Fredric March, was in Tech-
or?
Mona Lee Steel
Baltimore, Maryland
j.s, it was. — ED.
lave just recently seen the movie ver-
of Annemarie Selinko’s great novel
ee. Could you please tell me the name
e beautiful waltz piece played during
novie?
Joanne Noyer
Niagara Falls, New York
esiree,” by Alex North. It’s been re-
‘‘d by Bing Crosby and Jane Froman
g others. — ED.
Continued on page 25
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READERS INC.
continued, from page 23
I ust saw “The Caine Mutiny” and
e: was a girl in it named May Wynn. I
or3r if she has taken the name from the
cl e.
Betty Chabalik
New York, New York
man Wouk’s May Wynn is played
lay Wynn, sure enough. Formerly
:ahana dancer Donna Lee Hickey, she
ed her new screen name from this
-ED.
May's no fictional character !
ave just seen “Brigadoon,” and I
31 thought it was a great show. I en-
•ve the dancing of Gene Kelly, who is
y Svorite, and Cyd Charisse. But I was
it ring who “ghosted” the voice of Miss
jse.
Jerry Bucahanan
Omaha, Nebraska
’ one. Cyd sings, acts and dances,
ta — ED.
tve just seen “Brigadoon” and it is
f the best movies I have seen in a
g ime. I would like to know if Hugh
r« is a newcomer or have I ( perish the
tu.it ) missed all of his movies?
[Wire can I send for a picture of him?
I Linda Hinkelman
Williamsport, Pennsylvania
llgadoon” was Hugh Laing’s first film.
ib dancing as a guest artist with Ballet
ftre in New York this winter. — ED.
El Id you please tell me who played
I He in “Brigadoon?” Would you also
Same information on him? He’s tops!
Pam Lindberc
Muskegon, Michigan
\h ny Thompson, a Kansas City hoy who
g‘f nth the Air Force, subsequently be-
ltdancing pal of Gene Kelly. Jimmy’s
O' blond, has hazel eyes, is single. He’s
IN? in “The Glass Slipper,” “Hit the
IN and “Moonfleet.” — ED.
1 Ye’d like nothing better than to an-
* r every single letter we receive ask-
i> for information and addresses of the
si s. We can’t! Each week hundreds of
Iters are received. We can only answer
a mited number in Readers Inc. each
n ith. We suggest, therefore, that if
1 ivant to start a fan club or write
y r favorite stars, address them at their
sllios. And if you’re collecting photo-
tlohs, a good bet is to investigate the
Ct mercial organizations that have pic-
nts for sale. For a list of studios turn
tnage 91. ED.
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CASTS OF CURRENT PICTURES
ERICANO, THE — RKO. Directed by William
tie: Sam Dent, Glenn Ford; Bento Hermanny,
nk Lovejoy; Manuel, Cesar Romero; Marianna
lerido, Ursula Thiess; Teresa, Abbe Lane; Cris-
, Rodolfo Hoyos, Jr.; Captain Gonzales, Salvador
uez; Jim Rogers, Tom Powers; Barney Dent,
i White; Captain of ship, Frank Marlowe; Tuba,
rge Navarro; Tuba's sister, Nyra Monsieur.
D DAY AT BLACK ROCK — M-G-M. Directed
[ohn Sturges: John J. Macrcedy, Spencer Tracy;
o Smith, Robert Ryan; Liz Wirth, Anne Francis;
Horn, Dean Jagger; Doc Velie, Walter Brennan;
? Wirth, John Ericson; Coley Trimble, Ernest
gnine; Hector David, Lee Marvin; Mr. Hastings,
sell Collins; Sam, Walter Sande.
TTLE CRY — Warners. Directed by Raoul Walsh:
or Huxley, Van Heflin; Andy, Aldo Ray; Kathy,
1a Freeman; Pat, Nancy Olson; Sgt. Mac, James
itmore; General Snipes, Raymond Massey; Dan-
Tab Hunter; Elaine, Dorothy Malone; Rae, Anne
ticis; Ski, William Campbell; Marion, John
ton; L. Q. Jones, Justus E. McQueen; Joe Gomez,
ry Lopez; Speedy, Fess Parker; Lighttower , Jonas
ilegarth; Ziltch, Tommy Cook; Crazy Horse,
x Noriego; Susan, Susan Morrow; Maj. W ell-
, Carleton Young; Enoch Rogers, Rhys Williams;
Vaitress, Allyn McLerie; Sgt. Beller, Gregory
cott; Mr. Walker, Frank Ferguson; Mrs. For-
?r, Sarah Selby; Mr. Forrester, Willis Bouchey.
iCK TUESDAY— V. A. Directed by Hugo Fre-
ise: Vincent Canelli, Edward G. Robinson;
’r Manning, Peter Graves; Hatti Combest, Jean
<er; Father Slocum, Milburn Stone; Joey Stew-
Warren Stevens; Frank Carson, Jack Kelly;
n Norris, Sylvia Findley; John Norris, James
; Dr. Hart, Victor Perrin; Lou Mehrtens, Hal
lor; Boland, Harry Bartell; Parker, Simon Scott;
uard Sloan, Russell Johnson; Fiaschetti, Phil
;; Donaldson, Paul Maxey; Collins, William
allert; Selwyn, Don Blackman; Lenny, Dick Rich.
DGES AT TOKO-RI, THE— Paramount. Di-
sd by Mark Robson: Lt. Harry Brubaker ( US -
), William Holden; Nancy Brubaker, Grace
y; Rear Admiral George Tarrant, Fredric
ch; Mike Forney, Mickey Rooney; Beer Barrel,
ert Strauss; Commander Wayne Lee, Charles
Iraw; Kimiko, Keiko Awaji; Nestor Gamidge,
Holliman; Lt. (S.G.) Olds, Richard Shannon;
f. Evans, Willis B. Bouchey; Kathy Brubaker,
jene Ashdown; Susie, Cheryl Lynn Callaway;
. C.I.C. Officer, James Jenkins; Pilot, Marshall
3eebe; M.P. Major, Charles Tannen; Japanese
i er, Teru Shimada; Air Intelligence Officer, Den-
Weaver; C.I.C. Officer, Gene Reynolds; Flight
veon, Robert A. Sherry; C.P.O. 2nd Class, Gene
[1y; Quartermaster, Jack Roberts; Bell Boy, Rol-
Horiyama; Bartender, Robert Kino; Asst. L.S.O.,
?s Connell; Captain Parker, Paul Kruger; Ma-
j Orderly, Ray Boyle ;*M.P. Sergeant, Bob Tem-
n; Officer of the Day, James Hyland.
i TOR IN THE HOUSE — Rank, Republic. Di-
ed by Ralph Thomas: Simon, Dirk Bogarde; Joy,
liel Pavlow; Grimsdyke, Kenneth More; Benskin,
Slid Sinden; Isobel, Kay Kendall; Sir Lancelot,
;s Robertson Justice; “Taffy,” Donald Houston;
i, Suzanne Cloutier; Dean, Geoffrey Keen;
is, George Coulouris; Sister Virtue, Jean T^y-
mith; Jessup, Harry Locke; May, Ann Gudrun;
' Mortis, Joan Sims; Mrs. Cooper, Maureen
r; Milly Groaker, Shirley Eaton; Magistrate,
olas Phipps; Jane, Lisa Gastoni ; Barbara, Shir-
iurniston; Mrs. Groaker, Joan Hickson. Med-
Ifficer of Health, George Benson; Demonstrator,
in Boddey; Policeman, Cyril Chamberlain; Doc -
arrish, Ernest Clark; Examiners, Mark Dignam,
Felton, Wyndham Goldie; Sprogett, Douglas
Examiner, Eliot Makeham; Paul, Anthony
owe; Stethoscope Salesman, Brian Oulton;
dma, Amy Veness; Extern Sister, Mona Wash-
ie; Book Salesman, Richard Wattis.
COUNTRY, THE — U-I. Directed by Anthony
i: Jeff Webster, James Stewart; Ronda Castle,
Roman; Renee Vallon, Corinne Cal vet; Ben
n, Walter Brennan; Mr. Gannon, John Mc-
Rube, Jay C. Flippen; Ketchum, Henry Mor-
Ives, Steve Brodie; Luke, Royal Dano; Rounds,
X Barton; Dusty, Chubby Johnson; Yukon Sam,
\ C. Waller; Kingman, Robert Foulk; Doc Val-
iugene Borden; Bosun, Allan Ray.
SILVER CHALICE, THE— Warners. Directed by
Victor Saville: Helena, Virginia Mayo; Deborra,
Pier Angeli; Simon, Jack Palance; Basil, Paul New-
man; Joseph, Walter Hampden; Mijamin, Joseph
Wiseman; Luke, Alexander Scourby; Peter, Lome
Greene; Adam, David J. Stewart; Linus, Herbert
Rudley; Nero, Jacques Aubuchon: Ignatius, E. G.
Marshall; Aaron, Michael Pate; Helen (girl), Nat-
alie Wood; Basil (boy), Peter Raynolds; Benjie,
Mort Marshall; Hiram, Booth Colman; Sosthene,
Terence de Marney; ldbash, Robert Middleton;
Theron, Ian Wolfe; Ephraim, Lawrence Dobkin;
Ohad, Philip Tonge; Kester. Albert Dekker; Eulalia,
Beryl Machin.
SIX BRIDGES TO CROSS— U-I. Directed by Jo-
seph Pevney: Jerry Florea, Tony Curtis; Ellen Gal-
lagher, Julie Adams; Edward Gallagher, George
Nader; Vincent Concannon, Jay C. Flippen; Jerry
(as a boy), Sal Mineo; Andy Norris, Jan Merlin;
Red Flanagan, William Murphy; Red (as a boy),
Kenny Roberts; Skids Radzievich, Richard Castle;
Father Bonelli, Harry Bartel; Sanborn, Kendall
Clark; Maggie, Claudia Hall; Virginia Stewart, Ana-
bel Shaw; Inspector Walsh, Ken Patterson; Hymie
Weiner (as a boy), Peter Avramo; Jerry’s Attorney,
Hal Conklin; Special Prosecutor Sherman, Don
Keefer.
THERE’S NO BUSINESS LIKE SHOW BUSI-
NESS— 20th. Directed by Walter Lang: Molly Dona-
hue, Ethel Merman; Tim Donahue, Donald O’Con-
nor; Vicky, Marilyn Monroe; Terrance Donahue,
Dan Dailey; Steve, Johnnie Ray; Katy Donahue,
Mitzi Gaynor; Lew Harris, Richard Eastham;
Charles Gibbs, Hugh O’Brian; Eddie Duggan, Frank
McHugh; Father Dineen, Rhys Williams; Marge,
Lee Patrick; Helen — Hatcheck Girl, Eve Miller; Lil-
lian Sawyer, Robin Raymond; Stage Manager, Lyle
Talbot; Kelly — Stage Doorman, George Melford;
Katy’s Boy Friend, Alvy Moore; Harry, Chick
Chandler; Dance Director, Henry Slate; Archbishop,
Nolan Leary; Geoffrey, Gavin Gordon; Katy (age 4),
Mimi Gibson; Katy (age 8), Linda Lowell; Steve
(age 2), John Potter; Steve (age 6), Jimmy Baird;
Steve (age 10), William (Billy) Chapin; Tim (age 2),
Neal McCaskill; Tim (age 6), Donald Gamble.
THREE FOR THE SHO W — Columbia. Directed by
H. C. Potter: Julie, Betty Grable; Gwen Howard,
Marge Champion; Vernon Lowndes, Gower Cham-
pion; Marty Stezvart, Jack Lemmon; Mike Hudson,
Myron McCormick; General Wharton, Paul Harvey;
Sergeant O’ Hallihan, Robert Bice; Theatre Treasurer,
Hal K. Dawson.
20,000 LEAGUES UNDER THE SEA— Disney.
Directed by Richard Fleischer: Ned Land, Kirk
Douglas; Captain Nemo, James Mason; Professor
Aronnax, Paul Lukas; Conseil, Peter Lorre; Mate on
“Nautilus,” Robert J. Wilke; John Howard, Carleton
Young: Captain Farragut, Ted de Corsia; Diver,
Percy Helton; Mate on “Lincoln,” Ted Cooper; Ship-
ping Agent, Edward Marr; Casey Moore, Fred
Graham; Billy, J. M. Kerrigan.
UNDER WA TER /—RKO. Directed by John Stur-
ges: Theresa, Jane Russell; Dominic, Gilbert Roland;
Johnny, Richard Egan; Gloria, Lori Nelson; Father
Cannon, Robert Keith; Rico, Joseph Calleia; Miguel,
Eugene Iglesias; Jesus, Ric Roman.
VERA CRUZ — LT.A. Directed by Robert Aldrich;
Benjamin Trane, Gary Cooper; Joe Erin, Burt Lan-
caster; Countess Marie Duvarre, Denise Darcel;
Marquis de Labordere , Cesar Romero; Nina, Sarita
Montiel; Emperor Maximilian, George Macready;
Donnegan, Ernest Borgnine; General Aguilar, Mor-
ris Ankrum; Little-Bit, James McCallion; Charlie,
Jack Lambert; Danette, Henry Brandon; Pittsburgh,
Charles Buchinsky; Tex, Jack Elam; Abilene, James
Seay; Ballard, Archie Savage; Reno, Charles Hor-
vath; Pedro, Juan Garcia.
YOUNG AT HEART— Warners. Directed by Gor-
don Douglas: Laurie Tuttle, Doris Day; Barney
Sloan, Frank Sinatra; Alex Burke, Gig Young;
Aunt Jessie, Ethel Barrymore; Fran Tuttle, Dor-
othy Malone; Gregory Tuttle, Robert Keith; Amy
Tuttle, Elisabeth Fraser; Robert Neary, Alan Hale,
Jr.; Ernest Nichols, Lonny Chapman; Bartell, Frank
Ferguson; Mrs. Ridgefield, Marjorie Bennett.
EYEBROW AND EYE UNER
PENCIL
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I TWIN -REFILLS, 394
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Continued from page 20
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k'k'/V' EXCELLENT
///VERY GOOD
✓k' GOOD
k' FAI R
There’s No Business like Show Business
20th; cinemascope, de luxe col
/VW An Irving Berlin score (both popular classics ai
new songs) and an all-star cast are the mainstays of th
big musical. Playing a married vaudeville team, Ethel Mf
man and Dan Dailey get their kids into the act as each £
rives. But when the children grow up, complications bre;
up the family routine. Serious-minded Johnnie Ray decid
to enter the priesthood. Lighthearted Mitzi Gaynor war
to settle down to marriage. Unreliable Donald O’Connor
infatuated with an ambitious singer (Marilyn Monroe
The plot gets short shrift, however, and its knots are unti
at the finish in rapid and casual fashion. Individually, t
stars have appeared to better advantage; here, they crm;
each other a bit. But their joint efforts provide dazzli
entertainment in all the musical numbers. Fami;
Marilyn, Don and Mitzi agree on the joys of being “Laz
Battle Cry WARNERS; CINEMASCOPE, WARNERCOll
'/v'V' Following a group of U. S. Marine recruits from hi
camp to Iwo Jima, this stirring movie concentrates for m1
of its length on their relationships with women. The great
conviction goes into Aldo Ray’s love story. He’s a tou
young lumberjack who has a cheerful contempt for ;
opposite sex — until he meets a New Zealand war wid
(Nancy Olson). Innocent Tab Hunter almost forgets
home-town sweetheart (Mona Freeman) during his afl
with a married woman (Dorothy Malone). Quiet, intelll
tual John Lupton strikes up a friendship with Anne Fr
cis, only to find that she is a B-girl. Often outspoken on i
subject of sex, the picture regards its straying charact'
with compassion. Van Heflin welds the story together, as |
officer who turns boys into fighting men. Ai
Tab tries to keep Aldo from going AWOL to join his bi
The Bridges at T oko-Bi paramount, technic;
l/W' With flight and battle scenes of arresting force,
story of the “police action” in Korea relies on such fi
rate performers as William Holden, Fredric March
Grace Kelly to bring its lightly sketched characters to i
A World War II veteran recalled to active duty as a
pilot. Holden has the average American’s distaste for 3
fare. As an admiral aboard the carrier, March takes spe
interested in Holden, identifying the young pilot with his <
two sons, killed in action. Grace has the brief role
Holden’s wife, who must face the possibility that one
he may not return from a bombing raid. And Mic
Rooney is effective as a little gamecock of a ’copter p
fearless on rescue missions. The work of these pla
personalizes the film’s newsreel impact. fa
As an Army wife, Grace tries to understand Bill’s probl •
MORE REVIEWS ON PAGE 30
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 112
FOR COMPLETE CASTS OF NEW FILMS SEE PAG
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continued
Six Bridges to Cross u-i
kW A crackerjack cops-and-robbers
yarn gives Tony Curtis and George Nader
their best roles, and they share the
plaudits gracefully. Nader makes a stal-
wart yet troubled figure of the Boston cop
who seriously wounds an escaping juvenile
delinquent — and thereafter feels respon-
sible for the boy. Tony plays the hoodlum
as teenager and grownup. Willing to turn
stool pigeon whenever it suits his purposes,
friendly toward the conscientious Nader,
Though Tony has repeatedly broken promises,
he asks for George Nader’s help once more
Tony promises reform from time to time,
but remains a hopeless crook. He’s thor-
oughly convincing as the flippant small-
timer. not so believable as the mature
mastermind who plots a fabulous robbery
suggestive of the Brink armored-car hold-
up. Julie (ex-Julia) Adams has the only
important feminine role as Nader’s wife.
Tersely realistic most of the way, the film
later goes a bit soft. adult
Vera Cruz u.a.; superscope, technicolor
V'V'V'V' The names of Gary Cooper and
Burt Lancaster attached to a single film
suggest a feast of lusty action, and that’s
what you get. After the Civil War, Ameri-
can adventurers drift down to join the
fight between Mexican patriots and the
forces of Emperor Maximilian. Gary’s a
Southern gentleman; Burt, a totally un-
principled rogue. Both hire out to the
side offering the best wages — the foreign
ruler’s, represented by Cesar Romero as
a dandified nobleman, smarter than he
seems. The ladies of the story also keep
the audience guessing about their motives.
Beautiful Sarita Montiel (a star in Span-
ish-language films) is a fiery Mexican.
Denise Darcel is a French countess sup-
posedly loyal to Maximilian. All the
principals wind up convoying a shipment
of Mexican gold to be used to keep Mexico
in bondage. But their interest in the gold
has fascinating variations. Against real
south-of-the-border backgrounds, the film
ends in a fine flare of gunplay. family
Bad Day at Black Rock m-c-m; cinema-
scope, EASTMAN COLOR
V'W' Beginning in a cloud of mystifica-
tion, this offbeat modern-day Western
picks up speed and suspense as its plot
gradually takes shape. Spencer Tracy,
war veteran with a useless left arm, comes
to a tiny desert town in search of a Japa-
nese farmer. He finds the townspeople
evasive or downright hostile, and soon
realizes that they’re covering up a past
crime. Robert Ryan, dominating the town
with easy arrogance, emerges as Tracy’s
chief antagonist; veterinary Walter Bren-
nan, as his chief ally. But until the finish
it isn’t clear just where the aggressive
Anne Francis and her weakling brother
(John Ericson) line up. family
Young at Heart warners, warnercolor
k'W' Doris Day and Frank Sinatra team
engagingly in a musical romance that
goes its leisurely way with open senti-
mentality. With sisters Dorothy Malone
and Elisabeth Fraser, dad Robert Keith
and aunt Ethel Barrymore, Doris lives an
idyllic small-town life. The peace is dis-
turbed by the arrival of a dashing com-
poser (Gig Young) and his cynical arrang-
er (Sinatra). Devoted sisters suddenly
become secret rivals, and various quirks
of circumstance lead to Doris’ elopement
with Frank. It’s a difficult marriage, for
he makes a hobby of self-pity. (If the plot
sounds familiar to long-time moviegoers,
that’s because it’s inspired by 1938’s “Four
Daughters,” with the late John Garfield
in Sinatra’s role.) family
The Silver Chalice WARNERS ; CINEMA-
SCOPE, WARNERCOLOR
V'V’V' Early Christianity and the Roman
Empire clash again in an expansive spec-
tacle, with some of the most beautiful sets
ever seen on film. Paul Newman (known
to TV-viewers) plays a sculptor of Antioch,
assigned by the disciples to fashion a
chalice in which the cup used by Christ
at the Last Supper will be enshrined. But
the cup must be guarded from forces that
want to destroy it. These are led by Jack
Palance, as a magician employing trick-
ery to gain political power. His assistant
is voluptuous Virginia Mayo, Paul’s child-
hood sweetheart. Paul’s other love (Pier
Angeli) pulls him toward Christianity.
The story, however, is overshadowed by
the backgrounds. With no attempt at real-
ism, they are stark and striking. family
Doctor in the House rank, republic;
TECHNICOLOR
PW' The science of medicine, usually re-
garded with reverence in movies, takes a
ribbing in this loosely organized but
chucklesome British film. Among the
young medical students who are seen go-
ing through their five-year course, only
Dirk Bogarde takes his future profes-
sion seriously. One of his roommates (Ken-
neth More) is studying medicine merely
because the terms of a will give him an in-
come while he is a student — so he has no
desire to graduate. Another (Donald Sin-
den) neglects his books to chase women.
There’s plenty of juvenile horseplay, and
more laughs come along when Dirk’s
worldly roommates try to find a girl f
him. James Robertson Justice is a d
light as a domineering surgeon. ADl
The Americano rko, Eastman col
PW' With many vivid on-location sho
a Brazilian-style Western gives Glenn Fo
a vigorous adventure assignment. A Tex
rancher, he crosses the jungle to deliv
four prize bulls to a Brazilian buyer. Ai
he finds himself in the middle of a ran
war, with Frank Lovejoy as a land-hung
cattle baron, who despises the nesters ai
covets the small ranch owned by Ursi
Thiess. Cesar Romero enlivens the pi
ceedings as a swashbuckling despera
whose real character isn’t revealed t
near the finish. FAM,
Black Tuesday i
Vv'V The violent account of a breakc
from the death house sends Edward
Robinson back to his old routine, as
braggart gang-leader, and he’s adept
ever. With him goes another condemn
man — a cold young killer, neatly portray
by Peter Graves to suggest some fa
spark of decency. Among the hosta;
taken by the fugitives are Jack Kelly,
a cub reporter, Sylvia Findley, as
guard’s daughter, and Milburn Stone,
the prison chaplain. fam
Underwater! rko; superscope, technico
PW With sprightly Jane Russell, attr
tive Richard Egan and debonair Gilb
Roland, a treasure-hunt tale makes
way affably across the screen. Fora
Finding no privacy on their ship, Dick E
and wife Jane consider making a trip asi
Navy frogmen, Egan and Roland wan
dive after riches that sank centuries ]
with a Spanish galleon in the Caribbi
As Dick’s wife, Jane has little enthusi
for the scheme, though it’s endorsed
a science-minded priest (Robert Kei
But fisherman Joseph Calleia takes a
ister interest in the search. Oh y<
Lori Nelson is on hand. The expedi
needs a boat, and she happens to be t
nical owner of a yacht. She is also ’
decorative. Tension builds up in bre
taking undersea shots; easygoing dialc
adds pleasant touches of humor, fa
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Mr. and Mrs. Victor Damone. “I want to hold him close — but with my arms open”
HONEYMOON
ON THE HEAVENLY SIDE
BY BEVERLY OTT
• Pier Angeli Damone, one of last year’s
most beautiful brides and one of this year’s
loveliest and happiest young matrons, curled
up comfortably on the couch. “Of course,
every day is important to a husband and
wife,” she was saying. “But I still often
think of our first few weeks together. They
were so very special. For it was then that
we set the pattern for our marriage.”
She smiled as the memories, only a few
months old, returned. For a moment she
was in Las Vegas (Continued on page 80)
Pier Angeli is in "The Silver Chalice,” "Green Mansions”;
Victor Damone is in "Hit the Deck”
When, their honeymoon began. Pier made a vow “We learned to share each other’s interests ”
33
*1
\s
]
He
1
lour
“HT^H
T
I ype?
RACE GENTRY You’ll need a sense of humor with
this fellow — he likes to pull pranks on his girls. But they’re
funny enough to be appreciated. He wont brag about him-
self, likes girls who are truthful, so don’t hand him a line.
Levelheaded, likable, he has two loves — acting and cars!
ROR WAGNER You’ll be a perfect hostess, or else.
But he’ll take pride in how you look, won’t object to low-
cut gowns, will entertain you with interesting friends. He
has the manners of a diplomat, dislikes eating in restau-
rants, sleeps in a draft — always gives you his rapt attention
JACK KELLY Don’t pout if he suddenly decides to
have the gang over for dinner— he’ll do the cooking and
you’ll love it. The guy’s a whiz at golf, swimming and spear
fishing. Easy-going and generous, he’ll surprise you with
gifts. If you get a kick out of life, Kelly’s the boy for you
JEFF CHANDLER Don’t mother him — he can’t
stand it. Independent, he wants to be alone when he’s in
the mood. But he’s a doting dad, never keeps a date wait-
ing or scoffs at dieting. Thrifty with himself, htfs generous
with others, likes Hawaiian shirts and hardware stores
GORDON SCOTT A man worth listening to is this
newest Tarzan, with an epicurian taste in food. His girl
would have to be well-informed — he’s sharp, witty and an
interesting conversationalist. A lover of sports and the arts,
he’d take you to the best places. You'd never be bored
JEFF HUNTER He believes in hunches, can’t stand
girls who are affected, will adore you if you share his love
of sports. He dislikes dancing but loves music, excels at
most things he does, is expert photographer, a dream boy at
the piano. Quiet, sincere, you could always count on Jeff
34
-
RACE
GENTRY
SHI
JEFF
HUNTER
Race Gentry is in "The Lawless Breed " • Bob Wagner, in “ White Feather " • Jack Kelly, in "Black Tuesday" and "To Hell and
Back • Jeff Chandler, in "Sign of the Pagan " * Gordon Scott, in "Tarzan's Hidden Jungle” • Jeff Hunter, in "White Feather "
Men at Work: Somewhere in Holly-
wood there’s a wife waiting for Jeff
Chandler! At least he received a letter
from a fortuneteller whose crystal ball
revealed he’d marry a famous glamour
girl before the year is out! The lady’s
name? “There was a fifty-dollar charge
for that!” grins Jeff . . . You think
you have troubles? Western Costume
Company had to make seventeen “Lord
Vanity” costumes for Robert Wagner
— that must fit him after he gains back
the fifteen pounds lost during his re-
cent illness. Weak as he was, coopera-
tive Bob went right from his hospital
bed and stood for five hours in the fit-
ting room ... Jeff Hunter went over
so well in “John Brown’s Raiders,”
Allied Artists want to borrow him for
two more pictures. And Jeff, who pre-
fers to remain an unattached bachelor,
can’t escape those publicity romances.
Now he and pretty newcomer Virginia
Leith are supposed to be dunking two
doughnuts in one cup of coffee. They
did work together, but they’ve never
had a date . . . And gay blade Jack
Kelly prefers dates with no-name dolls.
Working in Washington in Audie Mur-
phy’s “To Hell and Back,” Jack’s big
splash with the Yakima social set was
interrupted when he was wounded in
“combat.” Real TNT was used in the
movie scenes! . . . He’s still John
Pepiro to the home folks, but if he
marries actress Joanne Cangi, you may
call them Mr. and Mrs. Race Gentry.
The handsome Italian couple prefer to
make good in the movies before they
make with the bambinos!
Top Trouper: Victims of insomnia
please note! Rock Hudson also has
trouble sleeping, especially when some-
thing important preys on his mind.
“But I finally found a remedy that
really helps,” says Rock. “When I can’t
sleep I think of some happy experience
in my life. I start with the tiniest detail
and recall it step by step. Suddenly I’m
so relaxed I (Continued on page 92)
35
Deb's best friend, the author
Hi, Debbie, I’m talking about yot
• Looking back, it hardly seems possible that I’ve known
Debbie Reynolds almost eight years now. Seems only like
yesterday that I bumped into her in gym class. We hit it
off right away, and for the rest of junior high, we were
what our parents called, “partners in crime.” We did every-
thing together — went to the show on Saturday afternoon;
played baseball after school; camped out with the Girl
Scouts; borrowed sweaters, loaned lunch money and studied
together. We’re still good friends. In fact. Deb’s my closest
friend (which means I know her well enough never to know
what to expect from her) .
For instance, one Saturday afternoon I set myself a rigid
schedule, for I had lots of work to prepare for my class on
Monday. I was in the bathroom sudsing my hair when the
telephone rang and Mom called upstairs to tell me Debbie
was on the phone. “Can I call her back?” I shouted. “I’m
washing my hair.”
Mom called up a few seconds later, “Deb says she’ll wait.”
Twenty minutes later, Debbie was still hanging on. I never
thought she could sit still for twenty minutes let alone hang
on to a telephone for that long, and I had wagered a silent
bet with myself that she’d hang up before I got down.
“Can you come over tonight?” she asked. “I have some-
thing to show you.”
“Can’t make it tonight,” I begged off. “I’m just loaded
down with test papers. How about Tuesday?”
“Tuesday,” came the loud scream from the other end of
the phone. “Why that’s almost next year.”
And who can refuse Debbie Reynolds? Two minutes
later I was saying, “Okay, I’ll be over in half an hour. But
what’s all the excitement?”
Half hour later, I found out. Debbie must have been
watching for me, for the minute I reached the front steps
she was opening the door and thrusting out her hand to me.
On her fourth finger, left hand, was the most beautiful
diamond ring I’ve ever seen. Breathlessly happy, Debbie ad-
mitted, “This is what I wanted to tell you about. I wanted
you to be one of the first. . .”
I had no inkling that Debbie was going to become engaged
so soon. In fact, she’d never seriously discussed Eddie with
me. But then, this is typical of Debbie. In all the years I
had known her, not once has she discussed the boys she dated,
other than speaking about them ( Continued on page 110)
Do you remember the gorilla in
the living room . . . that dizzy day
at Coney Island . . . the day you
called — and me with soap in my
hair — to show me Eddie* s ring!
Debbie is in "Hit the Deck-
On New York vacation together
“I’d never seen her look hap-
pier,” Jeanette says of day Deb-
bie became engaged to Eddie
36
Marlon Brando is a man who must go his own way. And the road
of a genius is hard to follow — even for a woman who loves him
Marlon Brando will be in “Guys and Dolls’
Newspaper pals didn't believe him
— until he bought engagement ring
In Bondol, knitted sail-
or’s shirts and scooters
Whatever else is said about Brando, no one has
accused him of not being serious about his work
“Marlon,” says Josane, “is tired of hotels
and publicity.” He stayed with her family
• The road of a genius is often strewn with brick-
bats and bordered with bouquets. The bouquets
have no roots and soon their sweet odor passes and
their blooms fade. The brickbats, expertly hurled,
often find their mark and the sting lingers long after
the surface black and blue bruises show no more.
That Marlon Brando is trudging this road at the
moment, there is little doubt. And that he will keep
on this road is foreordained, whether or not in
mere mortal existence, he’s married to his Josane
Mariani.
Marlon Brando is a genius — but a genius who is
a product of his times. (Others before him have not
only left their mark, but have been marked by their
own era. ) Marlon gripes because the public is inter-
ested in his love for Josane, yet he couldn’t have
chosen a more quietly spectacular way of revealing
that love. Marlon gripes because people are inter-
ested in what he eats for dinner (steaks mostly),
gripes because people note he once wore sweat shirts
(striped) and blue jeans (always clean). Yet, on
the other hand, when he wants to correct the impres-
sion that he is not still aping the teenager’s costume
and show that he dresses like everyone else, he buys
a Homburg (and who wears Homburgs?).
Brando reminds one of the old stories told about
another acting genius, John Barrymore, who fre-
quently carried a champagne glass in one hand
and, perched on his shoulder, a monkey that as fre-
quently bit people. Did Barrymore do this because
he had an eccentric liking for impolite monkeys or
because he wanted something around that could bite
when he couldn’t? Barrymore in his day was a
serious actor who became as wildly eccentric as the
torrid twenties demanded. Brando, another serious
actor, is perhaps simply carrying out the eccentri-
cities that only a genius would have a genius for
in 1955.
Right at the moment Marlon is working hard at
learning his routines for ( Continued on page 93)
39
1
ne perfect rose is what she got
But, ah, thought impish Moore
He should have stretched his budget some
And bought eleven more !
L
mm y a market stall in Rome
Paused a lady far from home
Tell us, Jan-ette, did you find
Romance was not far behind?
d n orchid to this pinup queen
Who proves that nothing dims
The appeal of a girl like Grable
If she’s lucky to have her limbs!
i
Terry is in “Daddy Long Legs” ;
Janette, in “Helen of Troy” ;
Betty, in “Three for the Show”
BETTY
GRABLE
40
VERSES BY RENA FIRTH
m irror, mirror on the wall
Who’s the fairest flower of all?
Though we’re charmed by roses red.
We would choose Pier instead
When a lady dresses to please her date—
And Jane goes along with that,
A flattering nosegay is not only tres gai
But inspiration for romantic chit chat!
I 11 eyes turn in her direction
For Liz’s face is pure perfection
Only a flower could dare to be
In such close proximity!
f
1 reckled-face and full of fun
Bright head shining in the sun
Doris goes her merry way
Gathering rosebuds while she may
Doris is in “Young at Heart” ;
Pier, in “The Silver Chalice” ;
Jane, in “Athena” ;
Li*, in “The Last Time 1 Saw Paris”
As his mother, I’m
more conscious than
others of everything
Rock does. And to sa
he has surprised me
is an understatement!
BY MRS. KAY 0LSE1N
rock Hudson’s mother
Once party-shy — now he mixes easily Now food means more than just eating
• We were just finishing our Christmas dinner and were starting to
clear the table when Rock turned to me with a most unusual request.
“Mom, what are you going to do with the turkey that’s left over?”
“Eat it tomorrow, I suppose,” I said. “We always . . Suddenly
I thought I knew what was on his mind. “How silly of me, I should
have thought of it myself,” I added. “You take it home and have
it for supper tomorrow night.”
“I’d like to take it along, Mom, but not for myself. An elderly
fellow who works at the studio, we call him Pop Schroeder, had a
heart attack a few days ago and is now at the Santa Monica Hospital.
I thought I’d stop by on my way home and take it to him. I’d like to
wish him a happy Christmas, anyhow.” (Continued on page 85)
Success changed him, but not his w
Rock Is in “Captain Light foot"
Shirt by Sakt Fifth Avc.
42
Grace Kelly and Oleg Cassini set the date — and didn't
keep it. And though they're still a woosome twosome,
Hollywood wonders if Grace isn’t being overcautious
Wait ahd you may be minus your man.
Rush him to the altar and you may
lose him later on. These Hollywood
stars went their own romantic way —
and look what happened to them!
Marry in haste, repent in the divorce court.
Just how true is this truism? Bud Abbott
met his one and only bride on the overnight
boat to Albany and married her the next morn-
ing. That was thirty-seven years ago. Marilyn
Monroe went steady with Joe DiMaggio for
two years and they fizzled after nine months.
Ann Blyth took three years to make up her
mind about Doctor Jim McNulty and I expect
to dance at their diamond wedding anniversary.
But I’m just as convinced that Pier Angeli and
Vic Damone will make a go of it despite the
fact that they were married within weeks after
discovering they were in love. I guess there is
no golden rule, but there is a law of averages.
So gather around all you boys and gals about
to take the plunge. Here are facts.
Grace Kelly met ( Continued on page 89)
Jane Russell lost her heart to football hero Bob Waterfleld the
first time she saw him in high school. But they went steady for
five years before tying that marriage knol — twelve years ago!
Jean Peters waited nine months after Stuart Cramer popped the
question. Now there are rumors of trouble. Jean, it would seem,
didn't wait long enough to be sure her heart was hers to give
44
^ -
BY SHEILAH GRAHAM
THE LONG AND SHORT OF IT
They knew in Hieir hearts they were sure, but even love could
wait for that triumphant moment when, eighteen months after
they met, Suzan Ball walked down the aisle as Mrs. Richard Long
Hollywood tried to hustle Ann Blyth into marriage with every man
she dated. But Ann wouldn't be rushed — even when she met the man
,of her dreams. Waiting a year only made the Jim McNultys surer
Mitzi Gaynor was a girl with time on her hands and a man in her
arms. And Hollywood couldn't understand why she kept postponing
marriage to Jack Bean. But Mitzi had good reasons for the delay
A fast game of tennis with Victor Rothschild and other boy friends
were forgotten! Within weeks, Vera-Ellen was wearing his wed-
ding ring. Time will tell if it would have been wiser to wait
45
IPIgIR •i'j!','
Ws
i ;.J. :
S' - vf‘i:. •• ?;.’<
•■'C' - '“^5 >
--4S
Van is In
"The Last Time I Saw Paris”
Van Johnson
Learned
NO NAN
WALKS
ALONE
He had been stumbling
along on his own . Then
people reached out and
touched him with faith
BY DEE PHILLIPS
In his acting, a new maturity. Above, in Eng-
land for “ End of the Affair ” with Deborah Kerr
“My wife is the heart of
this good life,” says Van
• Four short years ago, a freckled-faced young man half-
heartedly gave his famous boyish grin, which had set so
many bobby-soxers’ hearts aflutter, looked into his future
and concluded that at the end of his rainbow there was no
pot of gold.
For years, Van Johnson had been winning young hearts
as the boy-next-door; the boy who at the end of the picture
carried the girl into a rainbowed sky and a life of eternal
bliss. But at thirty, Van Johnson no longer felt like the boy-
next-door; he could see no future in it, neither could the
studios. And while he wondered what to do next, he slipped
from star hillings to second leads, finally found himself with-
out even a part. For Van Johnson, back in 1951, the future
seemed only to lead to failure. To imagine then that he would
play the dramatic role of Maryk in ( Continued on page 94)
Van with Evie, her son Tracy Wynn, Schuyler Johnson. “Giving and receiving
love, sharing, becoming responsible for someone else, rounds out a man’s life”
JOSEPH HENRY STEELE
ASKS:
She loves hot dogs
“goop,"
housework and peaches.
He likes boxing, in-between
snacks and loud shirts.
Both have a weakness
for shoes
and each other
Tony Curtis is in U-l's
*' Six Bridges to Cross”
■
Janet Leigh is next in Co-
lumbia's “My Sister Eileen "
and RKO’s “ Jet Pilot”
ifference!
• They do not have towels marked
His and Hers.
She never eats between meals, but
he is constantly nibbling on something.
“I like it better than regular meals.”
He smokes less than a package of
cigarettes a day, but she averages two
packs.
They always agree on politics.
He is inclined to be quick-tempered
and she assiduously scrubs her teeth
after every meal. “That’s why I have
no cavities.”
He was born Bernard Schwartz.
She was baptized Jeanette Helen
Morrison.
He drinks only one cup of coffee
a day, but she puts away seven. She
likes her coffee black and hot. He
is forever riding hunches and has a
passion for shirts. She loves to walk
in the rain and has a passion for
skirts — “all colors and styles.”
He favors Italian restaurants and
has a fierce hatred for people who push
others around. He was born June 3,
1925.
She wears a girdle only in dancing
Continued
i
SHE CALLS HIM TON-A-LA, HE CALLS HER JANIE, BOTH LIKE WATCHING MOVIES ON TV, SURPRISE GIFTS LIKE GOLDFISH
W
BjLx',: p'
fer
I ; ** ■» . .. !
<
4#.| V
IE'
. jiiiifciir ' ■ ' jl
SHE GOES FOR CROSSWORD PUZZLES, CANDY AND DESSERTS
HE LIKES TO NIBBLE, IS PROUD OF SANDWICHES HE MAKES
what’s the difference!
scenes for support and clings senti-
mentally to a rag doll that Tony gave
her five years ago. She was bom at
Merced, California, on July 6.
She dislikes watching a boxing
match; he is an excellent boxer and
is an avid boxing fan.
They are both right-handed.
He abhors the smell of a stable,
thinks himself a poor business man and
hates to get up early in .the morning.
She prefers a nightgown to sleeping
pajamas, considers herself pretty good
in business matters and she doesn’t
mind rising early.
They both like garlic, onions and
anchovies.
He was born in a New York tene-
ment and she was bom in a hospital.
She values most his “honesty and
warmth” and wishes he would stop
wiping his comb on the towel.
He has no superstitions, is bored by
tennis, golf and football and declares
that “she wants me to eat too much.”
His eyes are blue.
She never tries to talk herself out of
a traffic ticket; neither does he: “I’m
too scared.” Her eyes are hazel.
They don’t like hillbilly music.
They both have a weakness for shoes,
she has sixty pairs and he has twenty.
Their mutual best friends are Marge
and Gower Champion, Gene Nelson,
Rosemary Clooney and Jose Ferrer.
She is five feet five and one-half inches
tall and thinks her most vivid memory
is her first sight of Paris.
He confesses that he is not tidy or
orderly, declares that his worst fault
is “not making up my mind” and is
proud of the sandwiches he makes.
They like to go barefooted.
She calls him Ton-a-la, which means
“little Tony” in Hungarian. He calls
her Janie, and when they have chil-
dren they would like “more than
one.”
Tony is always postponing answering
letters, insists on paying bills promptly
and gets seasick at the first lurch of a
50
they're never bored with each other, enjoy havinc people around, but insist on some evenings by themselves
boat. His hair is black and polo bores
him.
Janet dislikes cooking, has no in-
terest in winter sports and gets seasick
only when on the lower deck but not
in the open air. Her hair is dark blond
and she answers letters promptly.
He doesn’t like popcorn.
She has never been to a horse race.
He loves to play poker and she
doesn’t like gambling in any form.
They cannot endure wrestling matches,
oysters or clams and both are rabid
movie fans, seeing all they can.
He finds machinery completely baf-
fling, loves baseball and track meets
and believes environment infinitely
more important than heredity. They
love to play Scrabble, badminton and
guggenheimer.
She owns twenty-five pairs of ear-
rings. “Never gaudy or jazzy.” Tony
has an aversion to flashy jewelry.
They have a French miniature poodle
whom they call “Houdina” and two
little goldfish brought home one day
by Tony on what they call “Love Day.”
She has “no affinity for cats.”
He wears no rings, dislikes opera
and confesses he is “terrible in English
and spelling.” He yearns someday to
visit Italy and has read Fancies and
Goodnights by John Collier several
times.
Tony doesn’t mind long telephone
conversations “so long as I don’t have
to pay for them,” and Janet doesn’t
like them “except when Tony’s on the
wire.” She likes to watch football and
basketball games.
Neither one is affected by claustro-
phobia and he admires Janet because
“she’s a nice girl.” She never has a
dietary problem because “usually I can
stand two or three pounds more.”
She dislikes potatoes and beans in
any form, but he is very fond of them.
She. saves nothing she “doesn’t need.”
He never wears an undershirt. “It
itches.”
He hates “all ( Continued on page 103)
51
“ Took Betty and Margaret, two of the women who take care of our house,
to luau . . . won cocoanut frond hat for native dance. Right, Robbie
Robinson and I with housekeeper . . . wore leis, lava-lavas ( skirts ) for kicks ”
IVIy
Hawaiian
BY TAB HUNTER
Orchid leis, perfumed breezes, Hawaiian sunsets, cocoanuts
everywhere. Feel like one is in my throat. This is work?
Monday, Sept. 20: This is it! I’m on my
way to Kailua, Kona, Hawaii where Lana
Turner and John Wayne are making “The
Sea Chase” and lucky you-know-who is in
it, too! Promised good friend and writer,
Jerry Asher, I’d keep a diary for him and
Photoplay. So her-r-e it is (with apolo-
gies to Mr. Gobel) and this is the show!
Tuesday, Sept. 21: Up at dawn. Packed
my gear. To early mass at Blessed Sacra-
i
ment. Can’t help thinking — was that real-
ly me back in the Coast Guard who got
halfway to Honolulu on a weather patrol?
Will I ever make it all the way? I often
asked myself. Now all this — with Warner
Bros, picking up the tab, too, I think\ To
the studio where best friend, Dick Clayton,
introduced me to Dick Davalos who plays
my best friend in the picture. Coffee at
drugstore across the street. Too excited to
drink the stuff. ( Continued on page 74)
At sea, with stand-in and pal, Fred
Stromsoe. Fred was also Tab’s stand-
Tab, Robbie, Fred. “Robbie, terrific
towering actor and stunt man, moved
Aboard the Ergenstrasse. Getting
to ship' for filming of “ The Sea
Chase” took three and a half hours
I'm
in love
with
a
wonderful
I’d come to Hollywood
to be a movie star.
Then one night
something happened.
To my heart
BY SHEILA CONNOLLY
MADISON
Theirs was no night-club courtship.
Guy, Sheila share liking for outdoors
On the beach at Miami, Florida. New-
lyweds spent week of honeymoon here
“Who wants to be a Bernhardt!”
Sheila would rather be Mrs. Madison
• When Guy comes home from work, he always
whistles. By now, I know the slam of the car door,
the number of steps to the living room. And I wait
for the tune to break and the words that follow.
“Hey, Mrs. Madison, where are you?”
If I’m not right there to meet him, it takes only
a moment for me to get to the door.
“Now I know where you are,” Guy says, taking
me in his arms, adding, “Mrs. Madison.”
“Say that again,” I ask. “That part about being
‘Mrs. Madison.’ ” *
“Well, since you’re still a bride, maybe I’d
better humor you,” he answers, “Mrs. Madison.”
“Humor me that way for the rest of our lives,”
I beg. For, you see, the first time I heard those
words, on our wedding day, I could hardly believe
them.
We were standing on the courthouse steps in
Juarez. It was a warm, dusty day, and the sun
was beating down as if it were concentrating upon
this one little town and no other place in the
world. It was our wedding day.
“Hello, Mrs. Madison,” Guy was saying.
For a moment, I couldn’t answer. “Am I?” I
asked him in my happy daze. “Am I really your
wife, Mrs. Guy Madison?” ( Continued on page 106)
M's#,
1 >£|^! jr ^
■ pj
1 ■ \n
El \ f
EsSsm *5?' .. >/S' M
Memo to my Husband
FROM SYLVIA (MRS. DANNY KAYE) FINE
Danny Kaye's next is ” The Court Jester'
“Daughter Dena, who adores her Danny and Sylvia, with George Jessel.
father, plans to marry him when “ On-stage , high-pressured, completely
she grows up! He took portrait ” zany. Off — as relaxed as a rag doll ”
A
JL X n exciting and very important thing happened to you this year.
Danny — you grew up !
There have been other important and exciting events and developments
in your life this past year (the most topical being Irving Berlin’s “White
Christmas” in which you co-star with Bing Crosby and, on the distaff side,
Rosemary Clooney and Vera-Ellen) . But of them all, the most important
is that you have grown not only in your profession but also within yourself.
It took you quite a time to grow up.
At first, and for some years after you made “Up in Arms.” “Wonder Man,”
“Kid from Brooklyn” and became a star, you thought you had to project
your stage personality all the time. Remove the cap and bells, even for a mo-
ment, take off the jester’s costume and they’d find you out. Or so you believed.
“The bubble will burst,” you used to say darkly. “All this will pass
away,” you’d say, waving your long arms in a gesture that appeared to
take in all of Hollywood, including our home and all our worldly goods.
“And when it does. I’ll hear voices saying, ‘We’re on to you, feller, the
jig is up!’ ”
Of Dena, our eight-year-old daughter, who is unmistakably bright for
her age, you often say: “She’s really twenty-four, you know, she doesn’t
fool me for a minute!” Of you I used often to ( Continued on page 104)
rr You thought you had the world fooled — that as
long as you played the jester , they wouldn’t
find you out. But they knew you all the time,
Danny , the way I did.
Only you wouldn’t believe it — until now ”
June Atlyson is in
" Strategic Air Command,"
"The Shrike " and
"The McConnell Story"
She was a prisone
“There’ll always be a little fright for me,” says June, “because that’s the way / am. And Til always need Richard and
Ricky and Pam — and what home represents — these safe, warm walls / know so well. But the one big fright — that’s over”
By JOHN MAYNARD
I
I I is not especially difficult to drive a
car off the Metro-Goldwyn-Mayer lot.
It is, in fact, much easier than to drive
one on to it. But for June Allyson, one
day not too many months ago, this sim-
ple act was a matter for genuine, nerve-
shattering terror.
For she was leaving, after eleven
years, the only picture home she had
ever known. In a state of fearful panic,
she had decided to free-lance and de-
clined to sign a new contract. Weeping
from both fright and sorrow, on her
last day she made the studio rounds,
saying goodbye to persons she was con-
vinced were the only professional
friends she had or could expect to have
again in her lifetime. Then, in a panic,
she drove out the east gate, past the
Irving Thalberg Building into the ugly
golden smudge of Culver City.
Sounds absurd? Then let June Ally-
son tell you.
“I didn’t think anyone would hire
me. And please don’t laugh. I’m not
hamming or fishing for a kind word.
I’d never worked anywhere but Metro.
I didn’t know any other studio people.
Maybe they wouldn’t like me. I didn’t
think they would. It seemed to me there
were just Richard and the children
left, no other security. Wasn’t that a
horrible way to feel? I’m ashamed in
a way. I’m so easily frightened. I guess
I’ll always be frightened. But it’s so
much better ( Continued on page 78)
The battle was halj won when June faced up to her fears
and knew that she, alone, must take the step to freedom
As a child, June had none of the loving warmth and secur-
ity she and Dick are trying to give to Pam and her brother
This story may sound fantastic.
It seems that way now to June.
But her ordeal was real.
So was the courage that freed her
L
59
Audrey s career had not yet
begun when she first met the
author in 1 951 . But, “she had
that star quality even then,”
recalls this noted columnist
BY RADIE HARRIS
Although busy, Audrey wrote the author frequently
In Holland, to raise money for
Dutch Military Invalid Fund ,
Audrey modeled, sold pictures
of herself, was awarded medal
At benefit fashion show she
modeled gown she wore in last
film, “Sabrina.” Mel Ferrer
accompanied Audrey on tour
Audrey and Mel visit with
Secretary of fund, A. Grims,
and wife. Audrey’s known him
since war years in Holland
M arch 25, 1954. On this night the eyes of the
world are focused on Hollywood. The annual
Academy Award sweepstakes are about to end
with the giving of filmdom’s highest honor — the
little gold statuette named “Oscar.” Only tonight,
when the time arrives for the final choice of
“The Best Performance by an Actress,” the spot-
light shifts. Not Hollywood but New York is the
backdrop for this suspenseful, exciting moment.
Sitting in a gala audience at the NBC Center
Theatre, with her mother and her future groom,
is the twenty-four-year-old newcomer who, on
the strength of her first Hollywood picture, is
to win this coveted prize over such competitors
as Deborah Kerr, Leslie Caron, Ava Gardner
and Maggie McNamara.
I watch as Audrey Hepburn, trembling with
emotion, leaves her seat to come on stage and
acknowledge the honor bestowed upon her by
the motion-picture industry. And suddenly the
scene before me recedes in the distance and like
a flashback in the movies, the calendar turns
back.
July 18, 1951. The setting was London, where
Audrey and I met for the first time at a dinner
party given in my honor at Mayfair’s most pop-
ular private club, Les Ambassadeurs. Faye Em-
erson, who had just flown over to spend a few
days with me, was among the guests. So were
Humphrey Bogart, John Huston, Sam Spiegel
I who had just finished filming “African Queen” )
and Lauren Bacall. My ( Continued on page 99)
61
Loved first for the fizz and sparkle of sheer youth,
June Ally son now has shown fans all the richness of
her warm, witty, wise self. They vote her the best!
Personally, William Holden’s a pretty reserved char-
acter. But before the cameras he opens up, giving
moviegoers a full measure of fine acting every time
ANNOUNCING
PH OTO PL AY’S
AWARD WINNERS
OF 1954-55
MOST PROMISING ACTRESS
OF 1955
GOLD MEDAL WINNING PICTURE OF 1954
With the love story of Rock Hudson and Jane W yman,
U-l’s “ Magnificent Obsession” touched every heart.
And its inspiring theme left an imprint on memory
Hollywood history was made on the evening of Feb-
ruary 10th. For the thirty-fifth year, Photoplay’s
Gold Medal awards singled out the movies and the
stars that have won the public’s deepest affection.
And, for the first time, newer stars who may be the Gold Medal
winners of tomorrow stepped up to claim their honors on the
same evening. These were the victors in the “Choose Your Stars”
contest, decided by the ballots of Photoplay’s readers.
Celebrities gathered in the Crystal Room of the Beverly Hills
Hotel felt a nice extra glow of sentiment about the occasion. For
Dick Powell, as master of ceremonies, had the pleasure of pre-
senting the Gold Medal to his wife. It seems June Allyson is the
American filmgoer’s favorite wife, too. Her delightful portraits
Asked to “Choose Your Stars” the readers
of Photoplay saluted Grace Kelly, the lass
with the delicate air and the sturdy talent
MOST PROMISING ACTOR
OF 1955
When opportunity knocked a second time,
Guy Madison was there to answer. Readers
see a shining future for this action hero
Continued
ANNOUNCING
RH OTO P LAY’S
AWARD WINNERS
OF 1954-55 Continued
of marital devotion in U-I’s “The Glenn Miller Story,’7
M-G-M’s “Executive Suite’’ and 20th’s “Woman’s World”
brought her the accolade as the most popular movie actress
of 1954. She continues the tradition this year in Paramount’s
“Strategic Air Command” and Warners’ “The McConnell
Story,” but slips from wifely grace in U-I’s “The Shrike.”
By coincidence, it was one of June’s movie husbands who
joined her at the top of the Gold Medal list — William Holden
I wed to her in “Executive Suite”). On the subject of
Holden, moviegoers agree heartily with Bill’s fellow movie-
makers, who last year voted him an Oscar. A playboy in
“Sabrina,” a serious young director in “The Country Girl,”
he starts 1955 by again doing Paramount proud in “The
Bridges at Toko-Ri,” as a valiant jet pilot.
The competition was so close that each one of the runners-
up for the Gold Medal also holds a secure place in fans’
hearts. Jane Wyman won her award with only one 1954
Jane Wyman, one of the five most
popular actresses, has a flair for express-
ing courage and charm in her film roles
Tony Curtis goes on the five most popu-
lar actors’ list. Here’s a climax in a
thoroughly American saga of success
James Stewart reinforced his long-
range popularity with honest, humorous
portraits of bandleader, amateur sleuth
Marlon Brando electrified the public
with his acting power, whether as
young rowdy, dockside thug or emperor
64
Ann Blyth, earlier permitted only a few
notes of song, proved last year that her
voice is as sweet as her personality
Judy Garland dazzled audiences with
her showmanship, soaring “Over the
Rainbou /’ to a Hollywood home-coming
Debbie Reynolds finally let the fans
have it — the whole force of her delight-
ful, irrepressible, zany zest for life
Rock Hudson- last year grew in. stature
as a star, and the fans hailed him
for rising above the W estern-hero class
SPECIAL AWARDS:
Y. FRANK FREEMAN, production
head of Paramount, made a magnifi-
cent contribution to motion pictures
with the introduction of a dazzling
new process — VistaVision. Unveiled
for a delighted public in the smash
hit “White Christmas,” VistaVision
provides a big, big picture of superb
clarity. Film runs through a new
type of camera in a different way,
so that each frame of the negative is
larger than the standard size. There-
fore, every detail remains bright and
clear even when the pictures are en-
larged to fill today’s vast screens.
And movies 6hot in VistaVision can
be shown in various proportions.
OTTO PREMINGER, talented pro-
ducer-director, gave the filmgoing
public a rare treat by translating
the classic theme of the opera “Car-
men” into a distinguished American
movie, “Carmen Jones.” Lyricist
Oscar Hammerstein wrote this ver-
sion of the Bizet music-drama for
the stage, where it won acclaim. But
in his production for 20th, Premin-
ger took full advantage of Cinema-
Scope spaciousness, told the story
with the free-ranging vitality that
only the screen can achieve. He
chose his players (headed by Doro-
thy Dandridge and Harry Belafonte)
shrewdly, guided them unerringly.
DANNY KAYE did credit to the
motion-picture industry and aided
the cause of world friendship through
his work as Ambassador at Large for
the United Nations International
Children’s Emergency Fund. Wel-
comed by dignitaries in Burma,
India, Thailand, the Philippines,
Danny was still more deeply im-
pressed at meeting the children
helped by UNICEF. He reports on
his trip in the movie “Assignment
— Children,” shot with Paramount’s
cooperation. This studio starred him
in “Knock on Wood” and “White
Christmas” and presents him next
in “The Court Jester.”
VAN JOHNSON emerged during
1954 as an actor of real scope and
force. He first impressed fans as
simply a boy-next-door type, noted
more for exuberance and an engag-
ing grin than for versatile perform-
ances. After that phase of his career
faded, he even deserted the screen
briefly to try his fortune as a night-
club entertainer. But he returned
last year as a new, far more imposing
Van Johnson. He was equally con-
vincing as a rugged Navy man in
“The Caine Mutiny” and as a trou-
bled husband in M-G-M’s “The Last
Time I Saw Paris.” His next: Colum-
bia’s “The End of the Affair.”
Continued
65
ANNOUNCING
PHOTOPLAY’S
AWARD WINNERS
OF 1954-55 Continued.
picture. But that one happened to be the Gold
Medal picture — U-I’s “Magnificent Obsession,”
best-loved movie of 1954. Jane’s splendid dramatic
performance set all the studios on her trail. Warners
gets her for “Miracle in the Rain”; Paramount, for
“Lucy Gallant”; U-I, for “All That Heaven Allows.”
A similar wholesome sweetness is the essence of
Ann Blyth’s appeal. Her ( Continued on page 84)
The Egyptian, one o/ the Gold Medal run-
ners-up, featured Edmund Purdom, Bella
Darvi in a tale of ancient intrigue. 20th
On the Waterfront told a startling story of
violence, redemption, love (Marlon Brando,
newcomer Eva Marie Saint). Columbia
A Star Is Born close-upped the real Holly-
wood, tracing the romance and careers of
James Mason and Judy Garland. Warners
The Glenn Miller Story excitingly combined
good jazz, tender personal history (June
Allyson, James Stewart co-starred) . U-l
White Christmas was rich in songs and star-
shine — Danny Kaye, Vera-Ellen, Bing Cros-
by ( and Rosemary Clooney). Paramount
Seven Brides for Seven Brothers, enchant-
ingly unusual musical, teamed Jane Powell,
Howard Keel as pioneer couple. M-G-M
Susan Slept Here found gay and giddy
comedy in writer Dick Powell’s entangle-
ment with youthful Debbie Reynolds. RKO
The Barefoot Contessa saw Ava Gardner
rise to fame, search for happiness — with
Rossano Brazzi. Bogart also scored. U-A.
The High and the Mighty took us on a
danger-haunted plane ride — John Wayne,
Doe Avedon, Bob Stack in crew. Warners
66
SPRING FASHIONS IN THE CAMERA EYE
Our Star Fashion Award
to Dream Step's sling-
back draped sandal,
beaded buttpn. Pretty
leather colors. About $4
Smile pretty! Lovely film star Pat Crowley introduces a preview of new
fashions to make glamour days of Easter and all spring. Her navy sleeve-
less sheath, with dotted silk tie, is sparked with a white Empire jacket.
All silk and worsted. 7-15. By Jerry Sreenwald. About $45. Hat, a John
Frederics Charmer. Striking accessory: Cliquot, champagne poodle
For Where to Buy turn to page 77
Continued
Susan's lovely stockings in skin-tone colors by Bur-Mil Cameo
Award-winning smooth
leather d'Orsay pump,
white-touched at tabbed,
barrel button front,
colors. Dream
Step. About $4
A photographer's dream, lovely star Susan Cabot graces the camera lens
in her fresh as spring middy-look suit of navy sheer wool. New straight top
has Martingale belt placed low at back and sides, emphasizing pencil-
slim skirt. Striped faille scarf at V-neckline. Sizes 5-15. By Felix Safian.
About $35. Added flair, Madcaps striped straw beret, striped sheer
gloves. Not for sale: Vickie, beautiful champion French miniature poodle
For Where
to Buy turn
to page 77
68
Last seen in LJ-l's “ Ride Clear of Diablo
Susan Cabot's now starring off-Broadway in "A
Stone for Danny Fisher ”
FASHIONS IN THE CAMERA EYE
continued
Below left, charming Pat Crowley gets snapped for the celebrity page.
Her youthful suit in wearable navy or black rayon faille has a full silhou-
ette with wide-flare gored skirt, stiff enough to stand out on its own. The
short bolero jacket features a buckled front. Pat's sparked it with a
striped tie-back scarf. The suit, sizes 10-18. By McArthur, Ltd. $14.95.
Her perky hat, a John Frederics Charmer. Navy calf bag by Wilcof
Stunning Barbara Lawrence of Hollywood fame, below right, makes a
lovely picture for any press photog. Her smart three-way suit has a
square-necked camisole top, slim skirt in black linen-look rayon, yellow calf
belt accent. The frosting — a yellow and black cotton tweed cutaway
jacket Barbara wears as an all-round topper. 8-16, also 7-15. By Joselli.
About $40. Handsome jet straw bag by Simon. Betmar's straw bonnet
Continued
Perfect all-round casual
shoe. Dream Step's Star Award
shell flattie, white
buttoned flap trim. Black,
red, blue, white smooth
leather. About $3
All fashion photographs pp. 6 7-72 by Bert and Stan Rockfield • Drawings by Andy Warhol
continued
FASHIONS IN THE CAMERA EYE
Off to her Easter parading, pert Pat
Crowley loves the fresh look of polka-
dotted silk. These in black against
pale crocus yellow make the V-necked
and bowed bodice of her slim black
silk shantung sheath, with short snug
jacket lined in the same dotted silk.
Comes also in navy and pink, black
or navy with white. Sizes 10-20. A
Cirilo design by Bloomfield. About
$35. Straw pillbox by Madcaps. The
black fox muff, Harold J. Rubin
Look for the beautiful spring outfit Pat Crowley made, plus news of an exciting new contest on page 109
*
cky be the passers-by to glimpse
san Cabot, dressed so smartly in
r gem of a suit for this year's spring,
smooth navy or black faille, a real
hion fabric, it features a fitted
:ket with wide hip pockets pointing
the slim skirt. 'Bonus is a striped
iuse with winged collar jutting from
i sparkling jewel-buckled tie. Look
buckles everywhere this spring.
> suit, sizes 7-15. By Junior Accent,
mplete, about $40. Hat by Madcaps
Continued
For
Where to Buy these Fashions
turn to page 77
Loot for Pat Crowley starring in NBC-
T V's new comedy, "My Man Sing"
Adventures of FRAN, the Formfit Gal, or
Of course I took to Gay I
course I took to Gay Paree,
But golly, how they took to me !
I strolled each sunny boulevard
The subject of intent regard;
Those Frenchmen, in their funny cars,
Deluged me with their Oo-la-las !
BV FORMFIT
•^SKIPPIES GIRDLE • LIFE BRA
Here Fran's wearing figure-making Skip-
pies Girdle #953 . . . nylon elastic net,
front and back satin lastex panels. Small,
Medium, Large. $6.50. The bra is the lovely
Life Romance #582. 32A to 38C. $3.50.
Prices slightly higher in Canada.
To consternation of gendarmes
I halted traffic . , . moi, sans armes!
Folks headed for Folies Bergere
Would miss the show to stop and stare
They’d “vive la” me where’er I’d sally,
From mad Montmartre to Place Pigalle.
With such approval by the hour.
My ego topped the Eiffel Tower.
Complete responsibility:
My Formfit outfit*— ah, mais oui!
THE FORMFIT COMPANY - CHICAGO - NEW YORK - TORONTO
For Where to Buy
turn to page 77
A striking picture for the newsman, Bar-
bara Lawrence loves the look of smart
separates. The jacket, in black and white
cotton tweed, has a standaway neckline,
soft cummerbund belt. $8.95. Full gath-
ered skirt in red, white, black striped
cotton tweed, $17.95. Both 8-16. By Nelly
de Grab. Chic white satin beret, a John
Frederics Charmer. Gloves by Dawnelle
IF IT RAINS
ON EASTER SUNDAY . . .
Stay dry and stylish as ever in smart,
light Rain Dears Deluxe rainboots by
Lucky. Your pretty shoes peek through
the pliable, seamless molded plastic.
They feature a triple-thick, non-slip tread,
easy-on-and-off bow-tie snap closings.
Universal fit for all shoes; fashion-fit for
higher heels. In smoke or clear. About $2
Sheer skin-tone stockings by Bur-Mil Cameo. * Barbara Lawrence is in Broadway's
“Put Them All Together." Look for her soon in the new- film version of "Oklahoma!"
FASHIONS
IN THE CAMERA EYE
continued
72
//
a
Each fSvne you wash your
There are 1- to 3-hour periods each
day, doctors say, when your skin is in
danger — "open” to such troubles as
stretched pores, coarsened texture,
cracking, "shriveling.” This is right
after washing. In washing away dirt,
you also remove natural skin protectors.
Nature takes 1 to 3 hours to restore
these vital protectors. Meanwhile, your
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After each washing —
" re-balance ” your skin
No complexion, however young, can es-
cape this problem of skin "un-balance.”
You’ve noticed these first danger signals —
right after washing: A pulled-tight, "burn-
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Must you avoid washing your face?
"No,” skin specialists Say, "but after each
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Never leave your skin unprotected a
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of a noticeably lovelier complexion!
a
Mrs. McCormick, photographed in Paris during
her honeymoon, is a member of the distinguished
Chicago family. Although in her earliest twenties,
she has worked out a skin care program effective
yet simple enough to fit easily into her active
life. She says, "My skin just doesn’t agree with
frequent washing, unless I give it a quick
smoothing with Pond’s Cold Cream right away.
The improvement these daytime creamings tnake
is astonishing. And, of course, for thorough
cleansing, I always use Pond’s each night.” The
results show in Mrs. McCormick’s exquisite skin.
p
74
My Hawaiian Diary
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( Continued from page 53)
Later, 10 A. M. : Pineapple juice and sweet
rolls in Aloha Room at Los Angeles Inter-
national Airport. So I’m getting into the
mood! Just saw a bewitching blond. Lana
Turner going over on the same Strata-
liner — I hope — I hope! False alarm. Beau-
tiful take-off at 11 a.m. Aloha toast and
champagne at noon.
Sundown, Same Day: What can I say! It’s
absolutely out of this world! Flight a bit
long but great. Arrived shortly after sun-
set, greeted by hula dancers, orchid leis,
palm trees swaying, perfume breeze.
Where’s Dorothy Lamour? Cocoanuts
everywhere. Feel like one’s in my throat.
No wonder I can’t eat dinner. On to Kona,
greeted by Hawaiian orchestra, more hula
girls, more leis, more of everything. This
is work?
Wednesday, Sept. 22: Up at 7 a.m. This is
the way to do it. Arrive at night in ex-
cited state of exhaustion. Wake up in
paradise. Davalos, Alan Hale, Jr., and my-
self sharing house mile and a half from
Kona Inn. Most of the company there. Two
bedrooms, two baths, large living room,
phonograph and piano. Flowers and win-
dows everywhere. This C. V. Crellin house
originally planned for Lana. Studio recon-
sidered. Afraid of prowlers. It figures!
One Hour Later: To breakfast on terrace
of Kona Inn. Stray dogs, barefoot kids,
happiness everywhere. On to Disappearing
Beach. Need sun tan badly. Too white from
skating at Lake Placid recently. Wow!
Went to sleep in sun with vinegar on my
body. Woke up smelling like a tossed
green salad! Can’t get over this fabulous
place. White sand disappears on beach one
month each year. Only lava remains. Body
surfing so great here. Kona water is cool,
very clean. Still no Lana!
Thursday, Sept. 23: No work today. Up at
6: 45. I’m nutz! Too excited to sleep, no
doubt. Starting to jazz it up with Aloha
shirts and crazy hats. Breakfast at Kona
Inn. Such cute little Japanese waitresses
and polite waiters. What service! Only wish
I could bring back Lloyd, Japanese boy
who waits on our table. And Norma, the
hostess. Beautiful like Hollywood glamour
gal. Always smiling, these people. Bought
bamboo pole, hook, sinker. Fished island
way. Caught two “nothing” fish, measuring
six inches together! Better I should stick
to ice skating. Dinner at Inn. Filmed short
subject on “Island Tour,” then home. Who
misses the Mambo at Mocambo!
Friday, Sept. 24: First day of work. Nerv-
ous as a cat. Wish I could relax like
natives. Three and a half hour trip out to
sea. Work on the Margaret Schafer, called
the Ergenstrasse in “The Sea Chase.” First
shot after lunch. John Wayne gave me his
navy jacket to wear for luck. Said he saw
“Track of the Cat.” Wishes Wayne-Fellows
had me under contract. What a great guy
— even if he hadn’t said it. Not so nervous
now.
Later: Home at 7:30. Long trip back and
forth really cuts into shooting schedule.
To bed. Am pooped in paradise!
Saturday, Sept. 25 : Time to get up. Wha
hoppen! Seems like my head just hit the
sack. Got home early today. Saw familiar
face. Harry Cerny, dock boy two summers
ago at Lake Arrowhead. Small world isn’t
it? Wayne very nice today. Still no Lana!
Saturday Night: Lana is here! Wonder if
she ever got that fan letter. I blush
I think of what I said! Dinner at Inn.;
working there also entertain. Got
into dancing native hukilau. Persor
Fred Astaire: Please stop worrying! |
native cocoanut frond hat. Lana wa
and laughed. That wonderful laugh. I
ly found courage. Placed plumeri
around her neck. Home to dream
dreams. Lana never looked lovelier!
Sunday, Sept. 26 : To mass in oldest cl 1
on Hawaiian Islands. Went shog
Bought Mom Miss Hawaii bathing
hibiscus pattern. On her it looks
Went swimming with my stand-in,
Stromsoe. Caught up with Gail “Roi
Robinson, terrific towering actor and
man. Robbie now shares house wit
Nothing but laughs.
Monday, Sept. 27: My first disapn
ment. Supposed to have big scene
Lana. Now it’s big nothing. Lana so i
and encouraging. What a doll! Begi i
to be a bit uneasy about my part. Dii:
John Farrow assures it will grow r
go along. Keeping my fingers crossei
Thursday, Sept. 30: Nothing eventfil
three days. Trying my darnedest in m
ever bit they give me. No work. Just s:
ing by on rolling ship — and waiting, i
have only said aye, aye, sir, yes, sin
just plain sir. Oh well, guess I can a i
sell used cars in Culver City if I don
it. Fine talk from a bright-eyed youth
loves Hollywood!
Saturday, Oct. 2: No work today.
Wayne suffering from skin-diving
injury. Some reward for such a hard-']
ing hombre. My first weekend on Ii
lulu. Lunch at Hali Kelane hotel on V i
ki Beach. Run into Wayne’s son Pat i
a nice guy), also Nick Adams. Both ' j
ing in “Mister Roberts” on location <
Dinner at the Embers. More yakki
Queen’s Surf. Run into friend Perry 1 ;
played Marine in “Battle Cry.” Whic
minds me, must send wire to Jeff and I
Sunday, Oct. 3: Cocoanuts falling oni
roof sounded like bombs. Breakfa;
10 o’clock mass with Pat and Nick,
stop Waikiki Beach for sun and st i
What a job. Wish I were Superman. '
to luau with Pat and Nick. Wore i
lavas and leis for kicks. By mistake v I
into strictly formal black-tie Iue
Queen’s Surf! One bottle of smelling]
coming up for the official greeter.
Monday, Oct. 4: Back to Kona. Re: I
news from home. A wire from Mon i
ing me about brother Walt’s losin
youngest little girl, Mary Claire. It d:
seem possible. Feel sort of empty,
can I do here? Sent flowers. Thought
Walt all day.
Thursday, Oct. 7 : No work last three :
Wayne’s painful ear acting up
Keeps flying to Honolulu for treal i
Thank the good Lord for friends who i
letters. Received 16 today. Wrote 16 I
How they’ll hate me! Love it here, b
beginning to get lonely. Such a ror
spot — but no romance except six ji
beautiful girls just walked in. Smof
me with leis. All around nine ant :
Took them all to a bar and treat
Shirley Temples. This wicked life i:
ting me.
Saturday, Oct. 9: Wayne has been wo
ful. Am definitely unhappy abou
part. Talked to Wayne who said:
THE TOWLE TOUCH
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The Towle Touch
have a nice honest quality when you a
But I was like you at your age and had
learn to keep broader in certain seer
and not play down emotionally.” Gotta r
member this. Must never forget advi
from an expert.
Sunday, Oct. 10: Real treat. Slept ur
6:45. Went to 8 o’clock mass. Hawaiia
sing hymns with great joy. Amazing peop
Later, went to luau at Napoopoo. Start
to rain. Danced in mud in bare feet. To
Betty and Margaret, two wonderful Haw;
ian women who take care of us. Stru
leis. Always keep the house filled wi
flowers. Betty and Margaret’s first pai
since they married. Mother of six, Ma
garet always hapai (pregnant). Told h
am writing a song called “Hapai Hone;
Well, she thought it was funny! Lu
rhymes with WOW. Low tables, Hawaii
music, native dances, swaying palm tre
star-studded skies, so romantic and
romance. Who says I’m getting homesic
I do.
Thursday, Oct. 14: My lowest day. Ni
staying on until November. God has be
very good to me. Shouldn’t complain. M
Mom, home and friends. Can’t help
Letter from Mom thanking me for gii
Clipping from Dick Clayton. Hollywc
says Lori Nelson and I no speakee. Sh
a real honey. Where do they get tl
feuding bit?
Monday, Oct. 18: Finished shooting eai
Finished of? ole Davalos, too. Shark i
him. In the picture, that is! Three days <
thanks to director John Farrow. Honolu
here I come. Closing night of Aloha we
Big parade, fireworks and big send-off
Jane Harlan, Lana’s seamstress. Go
home. Lucky girl. Fireworks until f
under my window at Surf Rider Ho
Slept right through it all.
Saturday, Oct. 23: Sent wire to Deb
and Eddie. Tried to send her white gin;
lei and orchid lei to him to wear at (
gagement party. Invitation reached
here too late. Bought myself a coolie c<
Just the thing to wear at the Brown Der
Monday, Oct. 25: Back to Honolulu. T;
Margaret and Betty to Carnival, starr
my friend May Edwards in Ice Class
She’s just terrific. Back to Kona. Wa;
feels much better. Lana feels much h;
pier. Lex Barker just arrived — lucky g
Work here’s winding up rapidly.
Friday, Oct. 29: Longest week of my 1
Getting ready to go home. Gave ps
for Betty and Margaret. They gave
shirt with white ginger blossom path
flower of love. Dancing, singing, cry:
Promise girls I’ll be back. Know I wi
someday. Blissfully happy. To bed. f
keeping my promise to Mr. Robert:
(His son is one of the three top skater:
the world.) One decade of the Ros
every night. Have never missed, a:
promised Mr. Robertson when he gave
the rosary.
Wednesday, Nov. 3: After seven weeks
never forget as long as I live — home. 1
wonderful word — home! At the airp :
Everyone there, more crying, more pre
ises to return, more Hawaiian music,
perfume, swaying palm trees. And one
look at the most beautiful sunset in <
world. Learned a lot watching these pe<
of the Islands, this simple, friendly, c£
free race. So much closer to God tha
lot of phonies who can peel off a rol
bills when the collection comes aro
every Sunday. It’s been a beautiful
perience. Aloha and God bless them
The End
business and pleasure obligingly
teamed up while Kirk Douglas was
making “20,000 Leagues Under the
Sea.” He drew a choice role in Walt
Disney’s version of the pioneer science-
fiction story — and a free trip to a vaca-
tion paradise went along with the deal.
On location at Nassau, in the Bahamas,
he spent spare hours roaming the lovely
subtropic island and its surrounding
waters. Jules Verne’s book imagines a
submarine miraculously invented in the
19th century. So many underwater
shots were called for, and Nassau was
chosen for its spectacular coral reefs.
Any time Kirk wasn’t busy before the
cameras coping with the mad captain
(James Mason), he turned tourist.
“20,000 Leagues Under the Sea 99
1 Kirk gets advice on underwater
photography from a Navy expert, Lt.
Comm. Charles Hooper, observer
2 In the blue seas around Nassau,
skin-diving’s a favorite sport, and
Kirk’s set for undersea sight-seeing
3 With diving suit, aqua-lung and
special camera, Kirk strolls the sea
floor, among brilliant-colored coral
4 At a picturesque outdoor market
he tries on some Bahamian headgear.
This model’s a bit extreme, maybe?
5 Cocoanuts and more exotic fruits
for sale on the docks catch his eye;
a Nassau bobby answers his questions
76
WHERE TO BUY
PHOTOPLAY
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Joselli suit
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77
Is a friend of yours
She Was a Prisoner of Fear
-the kind of help she can get
only from women like you
Briefly, she wants to know what you
think about internal sanitary protection.
She knows you use it.
Is Tampax really as comfortable as
they say? Is it true it’s unfelt as well as
invisible, once it’s in place?
Does Tampax actually prevent odor
from forming? Is it easy to insert? Does
changing it take only seconds? And
are both parts of Tampax— the appli-
cator and the Tampax itself— easily dis-
posed of?
Do you wear Tampax when you take a
tub or shower? Does it help make you (as
many woman have said) feel so free you
almost forget about "time-of-month”?
Those are the kinds of questions the
Tampax user gets asked. And to each she
replies with an enthusiastic "yes” (just
as you would). A big reason for the
popularity of Tampax is that one woman
tells another. Y our friends can find Tampax
on sale at drug or notion counters in
choice of 3 absorbencies: Regular, Super,
Junior. Month’s supply goes into purse.
Tampax Incorporated, Palmer, Mass.
by the Journal of the American Medical Association
(Continued from page 59)
now. I’ve done what I was always scared
to do and it has worked — knock wood — so
far anyway. I found it wasn’t dark out
there after all. It was bright daylight.
“Even if I hadn’t been wanted by the
other studios, even if not a single one had
asked me to work, I wouldn’t regret now
what I did. Leaving M-G-M meant some-
thing to me. It meant I had the nerve to
go out on my own, and that’s led to a lot
of other things. It’ll seem silly to you, but
I do marketing now. You can laugh this
time and I wouldn’t blame you. Isn’t that
raw courage? Marketing. But I used to
hate it. I was afraid of things, afraid of
people, afraid — oh, I don’t know what. It
was like wanting to hide your head under
a blanket — you know? I guess, really, I
was afraid of failure, afraid to try anything
because I might fail. That’s terrible. I ad-
mit it now. I’d even admit it then, but it
didn’t make me braver. And I don’t think
it ever once occurred to me that if I was
secure in my own little way, I was — well,
a prisoner, too. A prisoner of my own fear,
or for that matter, my own security. Does
that make sense? Before I couldn’t exact-
ly get off the ground. Just hopped around
like a chicken. Now, well, I have a sense
of freedom. I don’t mean I’m an eagle yet.
I’ll never be an eagle. But here I am, with-
out being told to, walking right up to the
man and saying: ‘What shelf do you keep
the ketchup on?’ Or if it’s a real good day:
‘Would you kindly direct me to the
canned meatballs?’ For me, that’s good.”
June Allyson’s confession was made at
her home one bleakish Saturday afternoon.
There was an open fire, soft lighting ef-
fects and an Early American decor that
slammed the door on inclemency.
In truth, the residence of Mr. and Mrs.
Richard Ewing Powell of West Los An-
geles, California, is something of a mas-
terpiece of opulent warmth. It may also
be regarded as vaguely symbolic of the
onetime state of mind of the lady of the
house. It is a reconverted farmhouse that
once was the property of John Charles
Thomas, the singer, and before him of a
wealthy Los Angelean with a great deal
of money and the desire for both luxury
and retreat in a single package. But this
man died less than two months after ful-
filling his dream, leaving what he had
built for those who sought the same things.
The home is in that section of West Los
Angeles called Brentwood, off a canyon
road named Mandeville. Most Mandeville
homes are in cozy proximity to each other,
even those of such notables as Robert
Mitchum, Richard Widmark and Ben and
Esther Williams Gage. But the Powells’
home cannot be reached so easily. It
stands atop the highest residential hill in
the area, accessible only after a half mile
of twisted climbing driveway, free from
encroachment. Call it a retreat, a hideaway,
what have you; for the small, nerve-ridden,
extremely talented young woman called
June Allyson it was a haven from all she
did not know.
But now that’s all behind her. June
Allyson has gone through a nightmare and
a revelation. The result is a sort of per-
sonal triumph that June Allyson has man-
aged herself. For she alone had to open
the door; the door whose very knob she
was afraid for so many years even to
touch. She opened it and found on the
other side not monsters and lonely winds
of night but sunshine and freedom.
When June left M-G-M something
bright and familiar had been turned aside
to be replaced by — what? She found it al-
most impossible to think about it and,
when she did, she was scared so badly
that she came close to crawling un ir
the bed for keeps.
“And thank heaven I didn’t!” she c -
fided. “This much I’ve learned: We 1
have to see our own private haunt j*
what it is. And we must go out to rr ft
it — alone. That’s more than half the bal
And until we’ve won that battle, wi
never whole, never mature. I can’t hon< -
ly say any one thing is the most wond™
ful that’s ever happened to me becae
there have been many wonderful thiij
But right now, I’d be inclined to put .i
new feeling of confidence right behd
Richard and the children on my all-t:e
good luck list. I just can’t tell you.”
In the firelight, her face seemed to s
den for a moment. Firelight, though, ii
tricky business, and it didn’t have to m ni
anything.
“Maybe,” she said, “I’ll never be whiji
what you’d call a New Woman. I’ll alwig
need Richard and the children and —
here, what this home represents. Th<
safe, warm walls I know so well. Theil
be some fright as long as I live beca e
that’s the way I am. But the one g
fright, that I couldn’t step out of prot1
tion and go it facing the wind — that’s o'i
If I never make another picture as longi
I live, that’s over. I can’t help sound
square about this, but it’s like being bi
again and seeing a thousand things j
never knew were there. Now I’m not e i
sure I was really living before. I was ii
cage. Life couldn’t get in to harm me, l
I couldn’t get out either. Now I’m out *
I love it.”
Nothing is more dangerous than amah
psychoanalysis, but the old June Ally:!
the immature one, can be pretty well
derstood if one goes back to her wretc <
childhood and her fearfully precarii
adolescence. This insecurity left her v
the belief that no altitude is high enou
no grip so firm that it cannot be pi '
loose. She lived in constant terror il
somehow she might lose all she had gai!
and have to start over again.
As a youngster, June lived under Ti
York’s Third Avenue El, on a clank
street of tenements, hock shops and ca:
bars. And if this were not bad enot !
she suffered a near-crippling accic:
when her spine was injured by a fal .(
tree. Later, at an age young enougt
conflict with child labor laws, she wr
night-club dancer and still later a musi
comedy novice, dancing in the line will
chap named Van Johnson under the did
tion of another chap named Gene K<y
Such experiences could have been fi
except that they meant the difference ;
tween eating or starving. For June, i
struggle from a chorus line to star st
and boxoffice darling was a long, 1
pull. Which is why June was so grati
to Metro for signing her and giving
an opportunity. It was also the reason '
she found it difficult to leave the stul
But June left Metro and the reason
a simple one. She didn’t like the pict'J
she was doing. It was simple as that—
as unsimple. In her last months there, !
cause of a number of lightweight f i
that frankly leaned heavily on June’s ti
office drawing ability, she was most i
happy. On the other hand, her devo
to the studio that gave her her ch< :
and nurtured her to classic stardom i
not only sincere but intense. These, cou J
with her morbid fear of the outside w<!
and you have the reason for her se
emotional schism.
Advice — except from Richard — was i
worst thing she could have got, but t
got it. The new contract was ready 1
her and Metro was bearing down q I
78
si on words like loyalty. It was a word
3 /hich Miss Allyson was tenderly sus-
e ible and this didn’t make her choice
n easier. But finally she made it. Her
0 lict had its aftermath. She broke out
1 skin rash, caused by nerves; holed up
i landeville and became what the Hol-
r jod press calls waspishly uncooper-
ffe.
this time Richard, the children and
ehome were her bulwarks. Richard had
p oved her decision. But Richard wasn’t
og the hiring that year and June soon
51 ed on an attitude that no studio in its
ijt mind would give her the back of its
] chard, however, was quite an asset,
[es as stable as June was, at that time,
n ttled. And he is as philosophic about
iigr business as she is single-minded,
lays there has been something vaguely
a rnal in Richard’s approach to June.
.c ever, for any man over the age of
vity-five not to feel somewhat paternal
ivrd June Allyson would be unusual,
n.‘ much of her appeal is childlike,
h is never cute in the uncomfort-
y sense of the word. She is merely
ijr, buoyant, a little like a puppy tug-
r at a leash with a small wistful face
i: is probably one of the most expres-
v in films. Richard’s guidance has al-
ai; been steady and able. A writer
ii'd of the Powells can remember, for
nee, one night when he and his wife
waiting downstairs in the Powell
? for June to finish dressing. Richard
ready and the three were talking,
ntly a servant came into the room
a very pale, innocuous version of a
!<;h and soda.
‘ have one, thank you,” said Richard.
1 1 this wasn’t for him, the servant ex-
a ed. This was June’s. June did not,
i< does not, dabble much with strong
pis and had instructed that Richard
s hers before she drank it. Evidently
s?as the only trustworthy decision she
tl rely on — whether or not the high-
il contained the extra drop that would
r her spinning. The degree of this re-
a e struck the visitors as a trifle
i ing.
St there is another side to June. On
evay into town that evening, a matter
ade gossip arose, some mild criticism
card had been tapped with in one of
eolumns. June became ferociously pro-
t'e. “Nobody can say things like that
ct Richard!” she exploded. “Nobody has
eight to! Richard never hurts anyone!
■ the sweetest person in the world.
;<’t you, Richard?”
‘ ow right you are,” said Richard
toly. “How do you think I made Eagle
ct?”
Iat’s about how it is with the Powells
- iept that maybe these days, June is
lining to show healthy signs of an in-
s ed independence.
on this day on Mandeville, Richard
i! out hustling a buck somewhere and
r was doing her own talking about her
vound freedom. And from the sounds
i June intends to go right on doing her
'i talking.
The End
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Honeymoon
( Continued, from, page 33)
again and the desk clerk at the Sa
Hotel was saying, “Your suite is res
Mrs. Damone.”
Upstairs on the door hung a pink
white sign. It read, “Bridal Suite.”
management of the Sands had outd
itself. Inside, the rooms were of plush
delicate decor and could easily have b
the setting for a fairy tale. For the nev
weds, it was to be a home for sev<
weeks.
Soon it was. Before long, stuffed anin
and dolls, large and small, were loun|
everywhere, feeling perfectly at ease
golf bag stood in the corner. And tf
was a note pinned to the curtain. It
gan, “I love you. Anna.” It ended
an answering postscript. “I love you,
Vic.”
“Our honeymoon,” said Pier, returi
from her dream, “was the happiest t
in my whole life.
“Cloud Number Seven?” grinned I
“We were waltzing on it. But we also k)
that we should be sensible and that
was a time to adapt ourselves to real:
... to the problems we would be fac
problems a couple should learn to S'
with thoughtfulness and consideration
understanding.”
Mrs. Vic Damone leaned back upon
couch and spoke reflectively. “I rem
ber,” she said, “as I was walking down
aisle. I felt faint. There had been so nr
to do. So much excitement.
“The lilies of the valley that I car
were shaking. And all of the faces. 1
were blurred to me, but everyone see
to be crying. I saw Debbie Reynolds
there were tears streaming down
cheeks.
“Then I heard someone sniffle
whisper, ‘She’s still such a child.’
“I suppose everyone believes that
bride on her wedding day,” laughed
“But I said to myself, ‘I am not a c
I am a woman marrying the man
loves.’
“In my heart there was no doubt.’
Pier Angeli went into marriage wit'
open heart and an open mind as
And with a wisdom far from child
“My mind has been pretty clear on i
riage since I was fourteen or fifteen j
old,” she says today. “I grew up so
inside. I didn’t necessarily speak a lot
I observed what was going on. I lea
as I watched the marriages of othe
saw what a lack of consideration and
derstanding could do to a marriage. I
a lot of people ruining what they
together by becoming overly posse
and jealous. I learned that a sens
humor could save many a situation
seemed impossible. And I knew tha
moment I became a wife, I should i
forget to recall these things.”
If the honeymoon was hectic, the
mones could take it in their stride,
they could build a good marriage.
As a matter of fact, the honey:
began with fairly long strides — up a
When Pier and Vic slipped away from
wedding reception at the Bel Air I
they climbed into their car to drb
their hilltop home. “You’ve been so
today,” Pier was marveling. “It is ama:
Then the car began to sputter,
finally it came to a dead stop,
could it be?” she asked.
“Your cool, calm and collected hu: *
forgot to fill the gas tank,” grinned
It took the pair fifteen minutes to t)
the hill. “We were loaded down,”
remembers. “We had my jewelry anc
and many of Vic’s belongings tha
didn’t want to leave in the car ii
middle of a lonely road.”
k
PI
M
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k -
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it
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When they reached their house, they
called the hotel to see if one of the guests
might come to their rescue. “They’ve all
gone,” said the manager. “However, we’ll
see if we can’t locate someone.”
Before a half an hour had passed, five
cars had arrived with cans of gasoline.
“You’d have thought we were opening a
filling station,” laughs Pier today. “It was
quite a beginning for a marriage!”
Pier and Vic spent the first night at their
new home and drove to Las Vegas the
following day. Vic was scheduled to open
at the Sands Hotel as the star of the show
there. “We had our moments of tension.
Both of us,” says Pier. “Vic was very
nervous about this personal appearance.
He hadn’t done a show like this since he
came back from the Army. And he won-
dered about the reception he would receive
from the audience. Before he went on, he
wanted to relax.
“I had been out and when I returned, I
didn’t know that he was trying to sleep.”
Pier began knocking playfully at the
door. “I must have knocked ten times at
least,” she recalls.
“Go into the other room,” Vic called
out.
“All right,” replied Pier. “I am sorry. I
didn’t know.”
The last thing in the world she wanted
to do was to disturb him at this time. “I
go to my mother’s room,” she said, feeling
very badly.
Mrs. Pierangeli had come to Las Vegas
for the opening, and Pier went to her. A
few moments later, the phone rang. It was
Vic. “Honey, are you there? What are
you doing?” he wanted to know.
In another moment, she was opening the
door to find him standing in the hallway.
She tried not to smile. He was still in his
robe. “I’m sorry,” he said. “I sounded so
abrupt. I didn’t mean . .
“I understand,” said Pier. “And I am not
mad. I feel the same way when I am doing
a scene. So I do understand. Honestly.
And now,” she finished, “you go and rest.”
“You come with me.”
“I will come and sew in the living room
while you rest.”
Vic’s opening was a real occasion. Pier
prepared a surprise. She rushed down to
his dressing room to be there before he
arrived. And when he came in, he found
that the lights had been turned off. He
looked again. In one corner blazed a dozen
sparklers.
“It is our seven-day anniversary,” Pier
informed him of the fact he well knew.
She was standing there, holding a cake.
In the center were the words, “Vic and
Anna, Love.”
“Would you mind staying backstage dur-
ing the first show?” Vic had asked. “If
you’re out front, I’ll be twice as nervous.”
And he added, “And if there isn’t much
applause, I wouldn’t want you to know.”
“It will be like thunder,” predicted Pier.
And it was. She listened backstage and
when she heard the audience roar its ap-
proval, she rushed to meet him in the
dressing room. She hurried so fast that
she tripped and fell and two stagehands
had to help her into the room. Then she
was aware of Vic’s voice outside. He was
thanking his well-wishers and accepting
congratulations. And he was saying, “The
only person I want to see now is my wife.”
The words brought tears to her eyes.
“Tears?” she smiles today. “To be honest,
I was crying like a baby.”
Vic was beside her. “Hey, look, you’re
supposed to make me feel good tonight.
Didn’t you like the show?”
“I loved it,” she told him. And Mr.
Damone tenderly dried Mrs. Damone’s
tears.
The second show found Pier at a ring-
side table. And Vic singing to her, as he
did upon each of the following evenings.
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“Those tears of happiness were my only
tears,” Pier told a friend while she was
in Las Vegas. “When I was first thinking
of marriage, I thought of my mother and
sisters. Everything I had done for them
and they for me. We were very close. I
thought, ‘I’ll miss them so. I’m going to
cry every day. I know it.’
“But I don’t. I have a man who loves
me so much and gives me so much under-
standing, who does everything to make
me happy.”
Each day there were little things. “I
wrote him notes and pinned them to the
curtains or slipped them under the tele-
phone. Sometimes I even put them in the
closet or in one of his coat pockets,”
remembers Pier.
“And he gave me dolls because I have
a collection.”
“Zip,” the monkey was the first. Pier had
been tired ■ and had gone upstairs to rest.
After an hour, there was a polite rap on
the door. “Who is it?” she called.
“The valet,” came the reply. “I have
some roses for you.”
In a few minutes, there was another
knock. It was Vic. He came into the room
with a package. “You know, I missed you,”
he told her. “It’s been an hour since I’ve
seen you and I missed you all sixty
minutes.”
“Then where have you been?” she asked
him.
He looked sheepish. “I’ve been standing
outside in the hall waiting for the flowers
to be delivered. I thought they’d never get
here!”
And he gave her “Zip.”
“I think if you do these things, it means
you care for one another,” says Pier. “And
we still do them — even after our honey-
moon. I think we always will. And how I
think about him — every minute. Even when
I am with others.
“Yet, I am not and I shall never be
possessive. I know in Italy, where I grew
up, it is the man who is possessive. Often
too much so. Here, often, it is the woman.
“On our honeymoon I would catch my-
self thinking that life is so short; I wanted
Vic to be with me all of the time. But I
knew that although it is a good thought,
in reality it is bad. So I think instead, ‘We
have all our lives — so much time. And
nothing is rushed.’
“I want to hold him close but with my
arms open so he’ll be free.”
In Las Vegas, occasionally people would
see Pier alone. “Where’s your husband?”
they’d ask.
“Playing golf,” she’d smile.
“You’re still on your honeymoon and
already Vic’s made you a golf widow'
“The show has made him tense and gc
relaxes him,” she’d say. “So of course I
him go.”
Vic gave Pier a set of clubs. “But I w
not play with him just yet,” she says,
am still taking lessons. I think perhaps
another month I will be good enough. A)
then we will go out together.”
They share many interests together. “F
interests have become his interests and 1
have become mine. Yet, we know that 3
should not completely submerge our pe
sonalities. It is not right for a husbai
and wife to lose their individuality. '
compromise, to make adjustments, yi
But the qualities about one another whi
we each fell in love with, these we keei
Vic has long been known. as one of t
most thoughtful men in show busine;
And Pier was never more aware of it th
on their honeymoon. “I felt so safe. So pr
tected,” she says.
“If anyone would say something th
Vic thought might embarrass me, he wou
speak up, ‘Please, my wife is here.’ ”
It was always, “Darling, are you su
you aren’t cold? Let me get you a sweatei '<
Or “You look tired, would you like to
upstairs and rest a while?”
The day their honeymoon began, Pi ,
made a vow. “I vowed that I should nev
demand, ‘Where have you been? Wh
have you been doing? Account for eve
minute and right now.’
“I promised myself that I would wi
for him to tell me, if he wished,” smil
Pier. “And he always does!”
Although Pier has her career, she w
knows that, emotionally, women are mo
dependent upon marriage than men. Th
although a husband and wife share t
responsibility of marriage, a woman h
the greater responsibility in making t
marriage work. She is the one to set tv
example. “Some men don’t understai j
that,” says Pier. “But Vic does. I sh;
always try to live up to his belief in n
“Naturally, we have had disagreemen i
But from the first, we have not fougl
When I say something, he listens quiet
He may think I am wrong, but he dc
not simply and bluntly say so. We ta
the matter over for an hour or longer. A:
we leave no upsetting thought to simm:
inside our minds. If you spend time broo
ing ever after, it is no good.”
Wise resolution? They were resolv
upon a honeymoon, which seemed over t i
soon. In Las Vegas, they faced the futu
. . . two weeks in Florida, two in Hava
and then separation while Vic was to ma
personal appearances in Australia and Pi
1
WHO ARE YOUR FAVORITES?
Send your voles for the st
you want to see in Photopl
In color I leant to see: actor:
actress:
(1)
(2)
(1).
(2).
I ivant to read stories about:
(2)
(3)
(4) .
-
The features I like best in this issue of Photoplay are:
(11
(4)
(2)
(5)
(3)
(6)
NAME
ADDRESS
Paste this ballot on a postal card and send it to Readers' Poll
Editor, Box 1374, Grand Central Station, N. Y. 17, N. Y.
82
begin a picture. “We knew we wouldn’t
. together for at least two months and
e knew it would be difficult. But we. have
ir lifetime on our hilltop!” says Pier.
They’d searched for months to find the
>use. “The man had shown us at least a
indred of them — or so it seemed,” says
er.
Then one day he called, “I’ve got it,”
: said. “I think. The owner doesn’t want
rent it, but you might talk him into the
ea if you like the place.”
They went tb see. “We flipped,” says
er. “We got there at six in the evening
id stood out on the terrace and watched
e lights below shine so brightly. We
tew it was perfect.”
The owner agreed. “The house is much
tter for you two,” he told them. “I’m
me. And there should be two here.”
And he gave them an option to buy.
jit’s modern — white and green. “It re-
nds me of a boat,” says Pier. “Every-
[ing is circular, you see, which makes it
m so much larger than it is.
T decorated it all. Sometimes in per-
il, sometimes by long distance. While
were honeymooning, I’d think of new
i ditions and call my mother and ask her
i see if she could find them for us.”
A.nd who shall keep the house? “Since
iwas only a few years old,” says Pier,
‘iy mother has taught me. I sew and
nan house. I cook, too, only when I cook,
bee all of the food for so long, I lose
)/ appetite. Then I don’t eat!
‘So Vic will be our chef. He’s much bet-
•• than I am!
‘We have a maid. While we were away,
s stayed with my mother and learned
. . lian cooking. So when Vic doesn’t feel
1 e cooking, we have someone who knows
Iw. And she will also be able to help
re for the family we want to have,” Pier
;ds.
‘We want children. All that God will
sid us. And I hope that I will be able
1 give him a son. Vic says it doesn’t really
i itter, son or daughter, but he thinks
lrhaps he would like a baby girl!
‘We have so much,” says Pier. “And
(t; future to look forward to . . .”
i During their first courtship days, the
f :ure seemed dim to Vic. They’d met in
( rmany while he was in the Army. And
tiy’d dated, always in the company of
I s. Pierangeli, who loved Vic like a son
f m the beginning. “He asked me to marry
In there,” says Pier. “But everything was
s uncertain. And when I came back to
t‘ United States, we said goodbye — for
s we knew, forever.
Still, every so often I would think, ‘I
v;h he would come back.’ But I did not
g to him.
We both dated others. And for a time
1 went with my sister, Marisa. Although
t came to our house, I didn’t see him
oen. I always seemed to be in my room
s dying a script or out.
I had never noticed that he still wore
t ring I had given him when we were
ii Germany. . . .”
Jntil they met again at M-G-M, that
is Then, as they danced in the small res-
ti rant across the street from the studio,
diced to “September Song,” their favorite,
al sipped tiny glasses of champagne, she
niced. “I’ve always worn it,” he told her.
“always thought of you.”
Our engagement, sudden?” asks Pier
Imone today. “No. I believe that Vic
us waiting. He’d never talked again
a iut going out or about marriage when
h returned because he knew I wasn’t
r'dy. He knew his heart and he was
uiting until we were both certain that I
k|!w mine.”
•nee upon a honeymoon, the story goes.
Ad it’s a continued story — with a happy
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83
Announcing Photoplay's Award Winners
of '54-'55
P
84
( Continued from page 66)
charm and musical skill in “Rose Marie”
and “The Student Prince” brought her a
Photoplay award, and her following can
look forward to another Metro romance,
“The King’s Thief,” Ann’s first film since
she took time out for motherhood.
Like Jane Wyman, Judy Garland was
voted one of the year’s most popular ac-
tresses on the basis of a single 1954 per-
formance. But what a performance! Judy
lavished on Warners’ “A Star Is Born”
enough incomparable song-selling, enough
heart-catching dramatic acting to put
across half a dozen movies. The emotional
sympathy that audiences expected to feel
at her comeback was completely over-
shadowed by sheer admiration.
In a lighter vein, Debbie Reynolds also
combines singing talent with a fetching
personality. M-G-M’s “Give a Girl a
Break” and “Athena” exploited her sense
of rhythm, as will its forthcoming “Hit
the Deck.” But delectable Debbie was
applauded chiefly for her exuberant
clowning in RKO’s “Susan Slept Here.”
On the masculine side, the list of run-
ners-up is another powerhouse of fan ap-
peal. After all, Gold Medal winner Holden
was a runner-up in 1953, and any of his
four 1954 rivals may next year claim
one of those coveted golden discs for his
own. U-I sent Tony Curtis from modern
adventures in “Forbidden” and “Johnny
Dark” back to medieval days in “The
Black Shield of Falworth,” for some light-
hearted, highly entertaining swashbuck-
ling. His studio again makes variety
Tony’s slogan for 1955, casting him as a
singing, dancing sailor in “So This Is
Paris,” an incorrigible crook in “Six
Bridges to Cross,” a man of action in “The
Purple Mask.”
Youthful stars like Tony can’t make
loyal fans overlook the solid experience
and mature attractions of such established
idols as James Stewart. Jimmy mixed the
bumbling bashfulness of his early roles
with his later poise to keep everyone ab-
sorbed in “The Glenn Miller Story.” He
was a witty but never bored sophisticate
in Paramount’s “Rear Window.” The year
1955 brings him vigorous western adven-
tures in U-I’s “The Far Country” and Co-
lumbia’s “The Man from Laramie,” excit-
ing plane exploits in “Strategic Air Com-
mand.”
The year 1954 brought Marlon Brando
to the fore as much more than a publicity-
worthy eccentric. His Photoplay award
marks public acceptance of Brando as an
outstanding actor and a personality with
great screen presence. If Columbia’s “The
Wild One” and “On the Waterfront” and
20th’s “Desiree” haven’t sufficiently proved
his versatility, just wait till you see him
as a Damon Runyon character set to music
in Goldwyn’s “Guys and Dolls.”
In 1954, Rock Hudson thoroughly justi-
fied the fans’ faith in his ever-growing
ability, and their gratitude is symbolized
by the Photoplay award. “Magnificent
Obsession” marked a high point for Rock,
while “Bengal Brigade” continued the ac-
tion-film career that moves into 1955 with
“Captain Lightfoot.” With coming assign-
ments in “One Desire” and “All That
Heaven Allows,” U-I gives its husky star
the wider opportunities that the public has
demanded.
If the runners-up are likely bets as fu-
ture Gold Medal winners, so, too, are the
ten young players named most often by
photoplay readers in the “Choose Your
Stars” balloting. These the fans count on
to deliver outstanding performances in
1955. A walkaway leader in the femi-
nine division was Grace Kelly. Handi-
capped earlier by colorless roles, Grace
was last year given the chance to prove
that she has talent to match her loveliness.
She showed emotional power in Warners’
“Dial M for Murder,” subtle sex appeal in
“Rear Window,” indomitable strength of
character in “The Country Girl.” This
year, in M-G-M’s “Green Fire” and Para-
mount’s “The Bridges at Toko-Ri” and “To
Catch a Thief,” she may be depended on
to live up to the voters’ predictions.
Her companion “Choose Your Stars”
winner scored a unique sort of triumph.
With Warners’ “The Command,” Guy Madi-
son firmly established a second Hollywood
career, canceling out his youthful failure.
Ten years ago he was termed promising,
but the promise wasn’t kept. Now a flood
of ballots has signaled the readers’ confi-
dence that Guy has the mature skill to
meet the challenge of such films as Co-
lumbia’s “Five Against the House” and
20th’s “The Tall Men.”
Barbara Rush, among the players also
singled out for future distinction, is lucky
in that her studio shares the fans’ high
hopes for her. Her appealing secondary
performances in “Magnificent Obsession”
and “The Black Shield of Falworth” con-
vinced U-I that she deserved a leading
role, and she gets one in “Captain Light-
foot,” another in “Kiss of Fire.”
Kim Novak, too, has her company’s en-
thusiastic backing. Columbia introduced
her in “Pushover,” gave her a piquant
comedy assignment in “Phffft” and will
present her next with Guy Madison in
“Five Against the House.” Touted in ad-
vance as another Monroe, Kim turns out
to be very much herself, tall and delicately
curved, with a subdued, feline sort of
allure.
Seen only in 20th’s “King of the Khyber
Rifles” during 1954, Terry Moore turned
down other offers, holding out for a truly
suitable role. Apparently, her fans ap-
proved her caution, for their ballots indi-
cate the unshaken conviction that Terry
is headed for top stardom. They’ll wel-
come her back to the screen in 20th’s
“Daddy Long Legs.”
At the same studio, Maggie McNamara
enchanted millions of moviegoers with her
gay romancing in the sensationally popu-
lar “Three Coins in the Fountain.” An en-
ticingly different film personality, Maggie
has appeared so far as a comedienne, but
20th puts her versatility to the test in
“Prince of Players.”
This highly dramatic picture serves as
an encore for another of Photoplay’s
Color portraits of Race Gentry, Jack Kelly,
Gordon Scott by Stern ; Robert Wagner by
Smith; Jeff Chandler, Jeff Hunter by O rnitz;
Debbie Reynolds by Apger; Terry Moore by
Stern; Janette Scott by Julian ; Betty Grable
by Lippman, Doris Day, Pier Angel i by Warn-
ers; Jane Powell, Elizabeth Taylor by Apger;
Rock Hudson by Stern; Van Johnson by Apger,
Janet Leigh by Fraker; Tab Hunter by Stern
(shirt by Saks Fifth Ave.); Guy Madison by
O rnitz
&
3ti
jliis
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live:
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“Choose Your Stars” runners-up. Reme
bered vividly for his performance in “r
Robe,” Richard Burton has an even m
rewarding role in “Prince of Players,”
the great 19th century actor, Edwin Boc
Richard’s fellow countryman Edmi
Purdom stood out as the most sought- al
new male star of 1954. The young Ei
lishman, with slight Hollywood experiei
to his credit, was given leads in 20th ’s
Egyptian,” a fabulously expensive spec
cle, and in “The Student Prince’
“Athena,” lavish musical romances. 1
votes of photoplay’s readers show thej
sure that Purdom can keep up the p
this year, in M-G-M’s “The Prodigal”
“The King’s Thief.”
Fans were quick to welcome a rarity
the Hollywood scene: a very attract
young man who is also a very adept con
dian. That’s Jack Lemmon, a hit at (
lumbia in “It Should Happen to You” «
“Phffft.” Jack follows up his sudc
success with equally rich assignments
“Three for the Show” and, on loan
Warners, in “Mister Roberts.”
George Nader made the grade m
slowly. But his solid appeal and act
assurance registered even with a br
sympathetic role in RKO’s “Carni
Story” and an amusing character job
U-I’s “Four Guns to the Border.” T
year his fans will see the U-I newcon
advance to leads in “Six Bridges to Croi
and “Lady Godiva of Coventry.”
Like the winning players, the most po{, ^
lar movies of the year covered an excit
range of types to please every taste,
these pictures, excellent acting united w
all the other great talents of the f
industry.
U-I’s “Magnificent Obsession,” produi
by Ross Hunter and directed by Doug
Sirk, stood out as a drama touched w
both romantic love and love for human
Spectacular settings, action and religii
feeling distinguished 20th’s “The Egy
tian,” produced by Darryl F. Zanuck
directed by Michael Curtiz. Columb
“On the Waterfront,” produced by S
Spiegel and directed by Elia Kazan, di
respect for its brutally honest examinat i
of a present-day problem. In Warm
“A Star Is Born,” produced by Sid Luft £
directed by George Cukor, Hollywc
looked at itself both affectionately £
critically.
Filled with music, U-I’s “The Gle
Miller Story,” produced by Aaron Rose
berg and directed by Anthony Mann, \
not really a musical, but the endear
story of a man’s life. On the other ha
Paramount’s “White Christmas,” produi
by Robert Emmett Dolan and directed
Michael Curtiz, with Irving Berlin’s
loved tunes, was frankly, gloriously
musical. So was M-G-M’s “Seven Brii
for Seven Brothers,” produced by J;
Cummings and directed by Stanley Don
but its imaginative dances and amus
situations made it unique in its class.
Witty lines illuminated the bitter, iro
story of U.A.’s “The Barefoot Contess
written and directed by Joseph L. Me
kiewicz. RKO’s “Susan Slept Here,” pi
duced by Harriet Parsons and directed
Frank Tashlin, was a sunny, carefree s
of comedy. In arresting contrast, Warm
“The High and the Mighty,” a Wayi
Fellows production directed by William
Wellman, kept audiences in an exhilar.
ing state of tension.
As the Gold Medal celebrates its thin
fifth anniversary, the gratitude of phot
play and the moviegoing public goes <
to all the award winners, for the wond< c
ful entertainment they have created — a
will continue to create.
The End
i
liot
mil
• 6
■-
Your Years Become You
(Continued from page 42)
“Don’t you think the hospital will have
turkey dinner for him, too?”
“I suppose so. It’s just the idea to let him
iow someone cares enough to show an
terest.”
To say that I was surprised is an under-
.atement — not that Rock hasn’t been kind
id considerate before. Only until now,
> has never been able to show, to ex-
ess his feelings in any way, even to me.
For that matter, lately I’ve seen all
nds of changes in my son. Being the
jirfect host at my Christmas dinner —
tually his party since the guests were
jck’s friends — was not the least.
He used to be quite indifferent to par-
;s, even disliked large gatherings of any
rt. But lately he is having more fun
:ixing with people at my house and at
s.
Yet he hasn’t developed, and I don’t
filieve he ever will, into the handshaking
lad to see you, what did you say your
me was?” kind of a person — partly be-
use he dislikes small talk, partly because
: hasn’t completely outgrown a shyness,
! rticularly toward women. This is also
ne of the reasons why most of his dates
:ie connected with the film industry and
^ually from his own studio.
However, in telling me about his dates,
:j>ck has eased up considerably, a sharp
Intrast from his onetime reluctance to
11 me more than their names. Once this
t me into a most embarrassing situation,
ough I’m still not certain who was most
inbarrassed — Rock, myself, or the two
rls involved.
I At the time, Rock was still in the service,
||| a naval air station somewhere in the
|iilippines. One day he sent me forty
>i liars and a short note advising me to
ie part of the money for a new dress for
itself, the rest to buy some roses for
incy.
Two weeks later he got a very sweet
id very surprised letter of thanks from
e girl.
Two weeks after that I got a most em-
atic note: “Mother, you sent the roses
1 the wrong Nancy!”
I ‘That’s what you get for not telling me
>re about your girls,” I replied. “How
ould I know which one you meant?”
To hastily make up for my mistake, I
ught “the other Nancy” a very nice
acelet and mailed it to her with a sec-
(d note from Rock. Fortunately, this was
only time he dated two girls with the
sne first name.
Naturally, to me, his mother, there’s a
i£|nificance in everything Rock does. I
n more conscious of the little things easily
(erlooked by someone not as close to him
* I am. His manner of dressing, for in-
£ince.
i As a youngster, he liked any outfit— as
lig as it included yellow corduroy pants!
|1 high school, he still hated white shirts
Ed ties. And until recently sports clothes
vre his favorite dress. Imagine my sur-
f se when he came back from his trip
t Europe this summer looking like some-
tng straight out of Esquire.
joing along with this new change, I
t him white shirts at every opportunity
ttil at last he protested. He had so many,
‘ couldn’t even get them in his wardrobe.
'ien I asked him what he wanted for
t ristmas, he insisted, “Anything but
v>ite shirts.”
fet, as Rock has learned to relax, he
Ts passed the peak of clothes-conscious-
^3s. Not that I think he’ll ever go back
. yellow corduroy pants, but he is grow-
ffl! more casual in his manner of dress-
jfl'. a.s weH as in his outlook which, I
t1!*) is very becoming.
I .4
New! Exciting! Glamorous!
This Gorgeous Yearbook Is Really Hollywood In Review
It’s better than ever! It contains more news
and pictures about all the stars of Hollywood
than ever before. Yes, tbe exciting, new 1955
edition of Photoplay Annual is sensational.
It’s a treasure-mine of information about the
stars ... a real Who’s Who in Hollywood.
This colorful and glamorous Hollywood year-
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NEWS EVENTS OF THE YEAR— 20 exciting pages
in pictures and text covering the month-by-
month weddings — separations — divorces —
births— awards — scoops.
PERSONALITIES OF THE YEAR— Stories and
pictures of Robert Wagner — Janet Leigh,
Tony Curtis — Debbie Reynolds — Rock Hud-
son— Marilyn Monroe — Guy Madison — Au-
drey Hepburn — Audie Murphy.
LOVE SCENES — Beautiful full-page scenes of
Mona Freeman and Tab Hunter in “Battle
Cry” — Jean Peters and Rossano Brazzi in
"Three Coins in the Fountain” — Kim Novak
and Fred MacMurray in “Pushover” — Lana
Turner and Carlos Thompson in "Flame and
the Flesh” — Grace Kelly and James Stewart
in "Rear Window” — Gloria Grahame and
Glenn Ford in "Human Desire”— Steve Coch-
ran and Anne Baxter in "Carnival Story” —
Rock Hudson and Jane Wyman in “Magnifi-
cent Obsession” — Robert Francis and May
Wynn in “The Caine Mutiny”— Colleen Mil-
ler and Rory Calhoun in “Four Guns to the
Border.”
DANCERS OF THE YEAR — Action pictures and
biographical sketches of Cyd Charisse —
Vera-Ellen — The Champions — Taina Elg —
Leslie Caron — Mitzi Gaynor.
PERFORMERS OF THE YEAR — Here you get por-
traits as well as action shots from their big
pictures, plus the autographs of Marlon
Brando — June Allyson — Van Johnson — Judy
Garland — Robert Mitchum — Gary Cooper —
Burt Lancaster — Ava Gardner.
ALL-TIME FAVORITES — Beautiful pictures, plus
thumb-nail sketches of Alan Ladd— Susan
Hayward — Dean Martin — Jerry Lewis —
Jeanne Crain — William Holden — Eleanor
Parker — Clark Gable — Betty Grable — Victor
Mature — Virginia Mayo — Robert Taylor —
Barbara Stanwyck — Richard Widmark— John
Wayne.
SONGSTERS OF THE YEAR— Doris Day— Howard
Keel — Jane Powell — Bing Crosby — Danny
Kaye — Rosemary Clooney — Frank Sinatra.
PORTRAIT GALLERY — Full-page pictures of Es-
ther Williams — Elizabeth Taylor — Montgom-
ery Clift — Jeff Chandler — Stewart Granger
and Jean Simmons — Ann Blyth — Charlton
Heston — Piper Laurie — Scott Brady — Jane
Russell — John Derek.
ASCENDING STARS — These are the names that
are making news. Some have just flashed into
sight — some now shine with an extra radiance
— Terry Moore — George Nader — Edmund
Purdom — Jack Lemmon — Richard Burton
— Barbara Rush — Susan Cabot — Jeff Richards
— Steve Forrest— Doe Avedon — Audrey Dal-
ton — Race Gentry — Russ Tamblyn —
Sarita Montiel — Elaine Stewart — Jeffrey
Hunter — Elroy Hirsch — Rhonda Fleming — Pat
Crowley — Ben Cooper — Lori Nelson — Robert
Stack — Julia Adams — Suzan Ball — Marla
English.
ONLY 50«— WHILE THEY LAST
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disappointed this year — mail coupon below
with 50<> — today!
PHOTOPLAY, Dept. PH-355
205 E. 42nd St., New York 17, N. Y.
Send me postpaid a copy of PHOTOPLAY
ANNUAL 1955. I enclose 50<f .
NAME
Please Print
STREET. . .
CITY STATE
Use
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The people, farrlous
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making them in white twill so you
can dye them yourself in exactly
the colors you want. And the dye
they recommend is All Purpose Rit!
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with the idea, and think you will be,
too. AAiJ.’lHf Peg Slacks are
trim as can be (wide at the knee
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and when you dye them with Rit
the color is exclusively yours.
Rock’s change in taste is even more
pronounced in the type of presents he
buys. When he was little, his gifts were
often given with a purpose — usually to
get back into my good graces after he had
done something wrong.
I can still remember one chilly Satur-
day afternoon in November when he
showed up at the house with a bag full of
candy.
“It’s awfully nice of you to bring me
this,” I told him appreciatively, but there
was something in his expression that made
me look for an ulterior motive. “Anything
wrong. Son?”
Rock looked at me sheepishly. “Oh, no,
Mom. What should there be wrong?”
“Maybe a bad grade in school?”
“No. Everything’s going just fine.”
I should have known this was a stab in
the wrong direction. While a bit lazy about
schoolwork, Rock learned so easily and
quickly that his grades were far above
average.
Frequently, his dean would call me into
his office, quite exasperated. “Your son
could be on top of his class, if he would
only study a little more,” he’d complain.
I knew what Rock’s trouble was. There
wasn’t enough challenge. With compara-
tively little effort, he could get good grades.
Had he been a poor student, I’m sure he
would have worked harder.
But since bad grades were not the cause
of Rock’s gift, I couldn’t think of any-
thing else he might have done. It was not
until the next morning, quite by chance,
I found the reason when I made his bed.
Underneath the mattress was a wet bath-
ing suit. “Rock!” I shouted angrily into
the kitchen. “Come here immediately!”
Rushing into the room, the instant he
saw me holding up his wet bathing suit,
Rock knew his secret had been uncovered.
“I meant to tell you, Mom,” he explained
sheepishly. “I went for a little swim yes-
terday.”
“A swim? At this time of the year?”
“It was easy. We just dove off the end
of the ice and. . .”
Now I knew why I’d gotten the present.
It was a pure and simple bribe! And, of
course, it was his favorite candy which
he ate ninety per cent of himself.
Needless to say ,he doesn’t have to bribe
me any longer. But even in his choice of
presents he has shown such increasing
consideration and thoughtfulness that late-
ly I’ve found myself calling upon him to
help me select many of my gifts.
Knowing my fondness for Wedgwood
china, when Rock was in England he
brought me a beautiful Wedgwood va
sugar shaker, earrings and several oth
lovely pieces. To find a Christmas prese
I really wanted, he talked to my husba
several times. When they both could
reach a decision, Rock finally asked i
directly. “I won’t beat around the bu:
Mom. You have your choice between
deep freeze, a dishwasher and an aut
matic washing machine. Which one wov
you prefer?”
After much deliberation, I decided or
washing machine. Imagine my surpr
when, in addition, he also gave me
matching drier. “Thought I’d save y
some steps so you can conserve yo
strength to cook dinner when I come ove
he said beaming over my delight.
I was particularly appreciative becai
Rock has put himself on a strict budf
to save for the house he hopes to bui
And the two pieces meant he must ha
gone without some of the things
wanted.
Rock has always been thoughtful a
generous, willing to spend his last cent \
surprise or please a friend. Without
efficient business adviser to manage a
restrict his expenses, I believe he woi
be constantly broke.
Rock has the wonderful ability of i:
only getting a tremendous enjoyment c;
of giving, but does it without expecti;
anything in return. This way he never 1 ;
been, and probably never will be, d
appointed in people. And it seems to
paying off: I don’t recall an instance wh
someone has taken advantage of him
His generosity is obvious in many wa
For instance, the mere mention by 1
friend of a liking for something he h
will cause him to part with it imnv
diately.
When I visited him on the set of “0
Desire” after he had finished his scene
asked me to his dressing room for a c
of coffee.
“Did you bring along a thermos?” I :
quired on the way.
“No, Mom. I bought a new coffee mak
Makes pretty good stuff, too.”
A few minutes later I agreed the © ■
fee was delicious. That was a mistake. :
wouldn’t let me off the set without tf
ing the coffee maker along. This is typi I
of Rock.
Naturally, I try to give him presents t
will enjoy. My most fortunate select 1
was the movie camera I gave him a yr
ago for Christmas. However, I must c<|H
fess that like Rock a dozen years age I
had an ulterior motive.
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86
We already knew he would go to Ireland
3 make “Captain Lightfoot.” By giving
im a camera, I reasoned, he could take
ictures which would provide a perman-
nt record of his trip for him, and give
le, upon his return, a chance to share
iany of his experiences.
I was right. Since he came back, we’ve
pent many evenings looking at his films,
articularly enjoyable since Rock, thanks
> his terrific memory, is able to describe
jli detail the many places he has seen. I
Pel that I’ve traveled through Europe
[rith him.
In addition to pictures and presents,
ock also brought back a taste for foreign
>ods which all but amazed me. Except for
ly strawberry shortcake, he never had
ay interest in food and showed even less
iterest in cooking. When he was little,
nee in a while he would ask me to let him
x some chocolate brownies. When he got
irough, the kitchen used to look like the
asement of a department store after a
de.
But being on his own has not only in-
eased his interest in food, but also made
im appreciate my cooking. More and more
e stops by for dinner, alone or with a
ate, frequently on short notice, too. And
love it.
He’s asked me to show him how to pre-
are some of the dishes he grew fond of
ad has adapted himself so well that he’s
arning to prepare meals for himself,
fter his last trip abroad, our teacher-
apil relationship was switched — he taught
e a cooking trick or two.
A couple of weeks after Rock returned,
J called late one evening and asked me
pick up some food from the market and
Ip’d come over the next day and show me
aw to prepare a new dish he’d discovered.
was delicious! And he’s done this so
equently that I, too, am acquiring a new
ste for food.
In recent years, even more in recent
onths, Rock has changed in another re-
ject. He used to concentrate on one hob-
|j/ at a time until he got bored, then gave
up for a new venture. It’s part of the
>rmal, maturing process. But too many
^ople never outgrow that stage, never
ally fully develop as they grow older
years.
Fortunately, Rock has. During the last
uple of years when he took up a new
ibby, he stuck to it. Collecting records
one example. So is photography, oil
, minting, and his number-one pastime of
rlier days, mechanical drawing.
If Rock hadn’t become an actor, he’d
■ ' a mechanical engineer today and, I
ink, a very good one. He has both me-
■ anical talent and imagination. As a boy.
1 e one thing he used to draw most con-
I itently was his “dream house.”
I’ll never forget the day I walked into
5 room and found him leaning over the
awing board, so intently studying the
sign in front of him that he didn’t no-
:e me till I put my hand on his shoul-
1 r. “That’s a mighty fine drawing,’’ I
Id him.
’ H>s face was aglow as he turned to me.
1,1 omeday, when I’m rich, this is the kind
: 1 house I want to build.”
And then he explained the details: the
'o-story construction, the swimming
' 1 ol, the kind of living room, paneled den
■ d even the hallways he had in mind.
This was the one sketch Rock never
jrew away. On the contrary, whenever
| r found a new idea he liked, he promptly
borporated it into his design. To him,
i was more than a house. It was his
ifure. And now it’s about to come true.
|| Some of his friends have wondered why
b so long Rock lived in rented houses
id apartments. Part of it is due to finan-
«1 reasons. He got into the “big money”
Ll
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87
With fellow cave-crawlers Bob Hudson and Rudy Turilli, Rory edges past weird rock forma-
tions in Meramec Caverns, Missouri. These, he reports, are probably 100,000,000 years old
Rory serves an explorers' lunch cooked over a wood fire in a vast, domed cave. The food's
informal, but the dining hall’s de luxe — 150 feet high, decorated by Nature with pure onyx
Finding a dry spot for a night’s sleep wasn’t easy. Rory and his pals made a nick-of-time,
movie-style escape before rain flooded the caves — and this fillip of danger delighted him
HE-MAN CALHOUN
• Smeared with clay and soaked to
the skin, Rory Calhoun said casually,
“I’m always doing stuff like this.” The
Outdoor Writers’ Association of Amer-
ica had named him “Outdoor Man of
the Year,” and, instead of toting his
award to the comfort of the nearest
night club, the outdoor champ had pro-
ceeded to crawl a good deal farther
P “indoors” than most of us would care
to go. In Meramec Caverns, Stanton,
Missouri, where the writers held their
88
convention, there are plenty of well-
lighted, easily accessible wonders. But
Rory’s zest for adventure took him into
the darkest, farthest reaches of the
caverns, never before explored. He
spent four exciting days on this strange
safari, following underground rivers,
scaling slippery rock walls. This is
fun? Yes, for a guy like Rory. Even the
lusty action of such films as U-I’s “The
Looters” can't supply enough thrills
to satisfy Calhoun.
only recently. After taxes, agent’s f(
which are normal for an actor, everyu
expenses and Rock’s own generosity, >i
hadn’t much money left to put into rl
estate.
Another reason as well has kept Re,
from going ahead. He was looking fo i
specific kind of lot: hillside property w |
a view, comparatively isolated, yet t
too far from the studio. He wouldn’t se >
for anything half-right. It had to be < <i
actly what he wanted. And finding
takes time.
Till a short while ago, he searched •
it only halfheartedly. But now that 1
reached the point where he can afford i
build, he spends most of his free ti>
looking. I don’t think it’ll be long till »
finds what he’s after.
Living for the future, seldom look $
back at the past has always been oneb
Rock’s strongest convictions.
Aside from the house and the fact tt
someday he’d like to settle down and n
a family of his own, Rock’s most p
sistent thought, understandably, cenl
around his career.
He wants to improve his performam
In order to become more versatile ;i
qualify for a bigger variety of parts,
has just taken up singing and danci
But his dreams extend beyond acti
Someday he also wants to direct, and
sure he would be excellent at it. Not o
because he goes to work with his e
open and constantly learns about the bi
ness or because, I believe, he has
necessary talent, but mainly due to a
all too rare in our day: He has rema
able patience.
I’ve seen many examples of his patiei 1
For instance, a couple of weeks ago
drove to the Salton Sea, south of P:
Springs, where Rock goes for his favo
sport, water skiing. During early afternc
as Rock slid ashore on his skis, a freckl
faced, redheaded youngster of about twe i
walked up to him, full of admiration. “C
Mr. Hudson, that was terrific. I wis!
could water ski like that.”
Rock smiled at him. “Ever tried it?’
“No.”
“Do you know how to swim?”
“Sure I do. Like a fish.”
He handed his skis to the youngs
“Okay. Put ’em on.”
Rock spent the rest of the aftem
showing the boy how to put on the s
grab and hold onto the rope, raise h
self up in the water and hang on as )l
as he could.
The boy didn’t become an expert, i
spent more time in the water waiting il
Rock to swing the boat around to |<
him another try than on his feet. But
learned the fundamentals, and what’s rr
important, had a wonderful time. Anc (
had Rock.
If anything, Rock has always had i
overabundance of patience, to the p i
where he seems incapable of losing
temper. It’s his only characteristic I
worries me.
When he gets upset about something,
stead of exploding right then, or e i
just coming out and saying what’s
matter, he’ll keep it to himself, carri
with him for days.
That’s hard on others, harder on E
himself. If he would lose his temper t
time to time, he’d get over whatever
bothering him much faster.
So you see, I really have very littli
complain about in Rock. As a matte) )
fact, I think he’s a pretty wonderful
who has changed in many ways, but i
in the one that counts most: Succe:
not gone to his head, and I don’t th
ever will. Do I sound prejudiced?
Probably. But then, what mother
The End
The Long and Short of It
( Continued from page 44)
)leg Cassini at a party five years ago.
afterwards Oleg confided to a pal that he
Wouldn’t see what people saw in the social-
ite blond actress. Then he saw what Clark
Table saw in “Mogambo.” Time out for a
ong, low whistle. And now it’s last spring —
xactly a year ago. Oleg is now divorced
rom Gene Tierney. He meets Gracie in a
lew York restaurant and wants to marry
icr right away. But Kelly is the cautious
;ind. When she marries, it’s for keeps. It
las to be. The columnists announced their
ngagement and the date of their marriage
or last October. They’re still a woosome
wosome, but Miss Kelly of Philly and Fil-
ums is a spinster, as of going to press.
Before Ann Blyth married her Doctor
im McNulty, she used to pray to her
latron saint, “Please, Saint Anne, send me
man I can marry.” Hollywood tried to
ustle her into marriage with Tom, Dick
nd Harry, but Annie smiled that sweet
mile and kept right on praying. And then
ne lovely New Year’s Eve Dennis Day
itroduced her to brother Jim. They dated
nd dreamed. Two years later, Ann said,
I’m sure.” They were engaged for a year,
nd they’ll be married forever.
Jean Peters is the faithful kind. And she
/as in love with a bachelor Hollywood pro-
ucer for a long, long time. But when she
ecided to marry, it happened before any-
ne here even knew she knew wealthy
ioung Stuart Cramer. They met on a TWA
ilane in the sky between Rome and Paris,
jean was on her way home after filming
Three Coins in the Fountain.” And who
nows what her thoughts were for her
fish when she tossed her dime into the
'ountain of Trevi. Stuart got off in Paris,
he came back to the USA. A week later,
e followed her to California and popped
le question. She made him wait nine
months. Then, one Saturday morning in
lay, my phone rang with the wedding
ells in Washington, D. C. But now there
re rumors of trouble in the marriage,
laybe Jean didn’t wait long enough to be
ire her heart was hers to give.
Jane Russell is a big girl, in every de-
artment. And she’s slow to get angry. But
ow Russell ranted at rumors affecting her
carriage. “Look,” she told me not long ago.
met Bob [Waterfield] in high school and
j
LISTEN
TO
PHOTOPLAY MAGAZINE
GOLD MEDAL
AWARDS
PRESENTATIONS
THURSDAY
FEBRUARY 10
9:30 P.M. EST
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it was love at first sight for me. He was a
football hero even then and he didn’t know
I existed.” Jane was hard to overlook
during Bob’s UCLA days. It was at the
beach and Jane was in a swim suit. But
they went steady for five years before
tying the knot — twelve years ago. I’m bet-
ting on them for another fifty.
I thought Mitzi Gaynor would never
marry Jack Bean. Here was a girl with time
on her hands and a man in her arms, but
she kept postponing the happy day, with
the flimsiest of reasons. Nothing like, “We
want to be sure.” They were sure, said
Mitzi. It was just that, “Every time we try
to buy a house to come back to from our
honeymoon, they recognize us and raise
the price eight to ten thousand dollars.” So
they finally rented a house, went off into
the wild blue yonder and left this skeptical
reporter with egg on her typewriter and
respect for Mitzi who was previously en-
gaged, if you remember, to lawyer Richard
Coyle for four years, which is longer than
some marriages you and I know about last.
The prize for the most rushed marriage
of recent Hollywood history goes to Vera-
Ellen, who broke devoted swain, Richard
Gully’s heart, when she suddenly produced
Victor Rothschild as her imminent hus-
band, after a fast game of tennis at store
magnate Jerry Ohrbach’s estate. Gully goo-
gooed over Vera for years and years and
while she didn't seem to be madly in love
with him, he was with her, and they seemed
real cozy together. So here comes the Vic-
tor and within weeks she’s flashing his dia-
mond engagement ring, and the wedding is
set for December, but Vic couldn’t wait
and they dash into matrimony five days
before Thanksgiving. We’re hoping that
time will tell that they really should give
thanks.
Suzan Ball and Dick Long told a sym-
pathetic, admiring world they were en-
gaged in the fall of 1953. And it was won-
derful that she walked up the aisle on her
own steam and courage to marry him April
11, 1954. They knew each other for eighteen
months. But this was no ordinary year and
a half. Suzan was on crutches the first
time they talked across a crowded cafe at
U-I where both were under contract. Suzan
left the table on crutches. Which Dick,
fresh out of the Army, was surprised to see
belonged to the pretty dark-eyed brunette.
He followed her to the door and asked,
"What’s the matter?” thinking she’d just
stubbed a toe or something. She told him
cancer. No tears, just a plain statement of
facts. He admired her bravery. She admired
his kindness. Very soon they were in love.
And when her leg was amputated, faith in
him pulled her through the dark portal and
into the bright wedding day of the pretty
bride and the handsome groom. And the
whole world wishes them long life and
happiness together.
It was three weeks from the first meeting
to the nuptials of little Maggie McNamara
and tv producer David Swift. And they’ve
already chalked up three years of all hits,
no errors. Dave, who produces Eastman
Kodak's “Norby,” saw Maggie’s picture in
the William Morris office in New York.
And it was love at first photo. He asked to
meet her and they are more in love now
than then. When Maggie was here recent-
ly starring in “Prince of Players,” Dave
called her two and three times a day. And
when the picture was canned, she didn’t
wait. She went flying to her mate in New
York. When Maggie had to go to Italy for
“Three Coins in the Fountain,” David
joined her there and they went sight-see-
ing all over Rome on a motor scooter.
That’s living, boys and girls. They only
had three weeks of getting to know each
other, but that was long enough for them
to know what they wanted.
If Olivia de Havilland means what she
has been saying, her name will be Madame
Pierre Galante as you read this. As
writing, Livvy and her very charmi
Frenchman have been engaged since Au
ust 14, 1953. They met in April of the sai
year at the Cannes Film Festival. Piei
told me in Paris last year that the marria
would take place after his fiancee coi
pleted “That Lady” in Spain. The last bi
letin had the cautious characters planni
marriage when Olivia finished “Not as
Stranger,” which they certainly are n
Don’t get me wrong. If there is the shade
of doubt in Olivia’s mind about the mate
then she’s a smart girl to take her tin
It’s much less heartbreaking to break
engagement than a marriage.
Gloria Grahame and Cy Howard love
fight. They fought happily for two yei
before they finally fooled us in August 19
Gloria wore a black dress at the weddii
which I hope was not symbolic. They’re si
arguing. But Cy doesn’t breathe right u
less he is. And Gloria, for all her vag
ways, is hep where her man is concernc
And as Cy said in answer to the troul
talk, “Of course the marriage will last-
never write on spec.” The introvert Glo
and extravert Howard seem to need ea
other. And they had two years before th
marriage to find out why.
When a girl is lonely and used to a m
around the house, the California marki
time of a year from the granting of the d
cree to the final papers of freedom i
great insurance against another marria
mistake. No one was more in love th
Jane Powell with Gene Nelson. He ne\
did get his divorce. And now it looks li
he’ll swap it for a reconciliation with M:
iam. But Janie has to be in love. Fortunal
ly, she had an enforced nine months
meditation before she was free to mai
Pat Nerney. Janie, who sure isn’t, alwe
played dumb when she was asked, “A
you and Pat going to marry?” Who knot
maybe she really didn’t know until right
the end. Lord knows she had a lot of fi
gering to do. She’s a great mother to 1
two children. She had to be sure that I
would make a great father. I’m holding
good thought for them all.
There were rumors about Jack Webb a
Dorothy Towne, even before Julie Londi
who was separated from Jack at the tir
brought her divorce suit against him. I
nothing doing with Dorothy until after 1
slow measured tread of the twelve mon
prescribed by law. And even then, Serge;
Friday may take more time to close 1
case with a wedding band.
Even impetuous John Wayne had to w;
The lady judge who knows her man, m
him promise, “No quickie divorce in Me
ico.” John knew Pilar’s predecessor Espi
anza for four years before they marri
And he met his first wife, Josephine Sae
when he was in college and married 1
three years afterward. He would have m;
ried Pilar the day after he met her in P<
if he had been free. It makes no differei
with the Duke whether he waits ten m
utes or ten years. If that’s the Duchess
wants, he gets her. An.d he’s usually in 1
much of a hurry to care whether they he
tastes in common. But this time, Pilar 1
a year to adapt her ways of life to his.
likes people around. She learned to 1
them. John plays cards until dawn. A
now Pilar, to please Duke, just loves th<
aces, jacks and queens.
I was against the long engagement of l
lene Dahl and Fernando Lamas. Thei
such a thing as turning caution into si
picion. I thought Fernando was selling hi
self too dear and I told him so. And
lucky Arlene tired of the Long Wait, bre
off the “understanding,” and took off ir
romance with another guy. Or they’d s
be unmarried. I was always convinced t
the redhead and the Latin were made
each other. Like a lot of intelligent <
reer women, Arlene likes to be dominat
ts
iil very
jienat
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irnando has to be the boss. I’m betting
k lit their marriage will last at teast ten
a ies as long as their engagement.
'’red MaeMurray and June Haver didn’t
it very long. This marriage was made in
to laven and they didn’t need time to prove
b Two lonely souls meeting at a Gay Nine-
5 New Year’s party. It isn’t true that all
world loves a lover. But the world and
wife certainly rooted for June and
.died. They waited six months to marry,
al ley robbed themselves of six extra
tj nths of wedded bliss.
4o one in this town had a longer court-
p than Aldo Ray and Jeff Donnell. With
s couple it wasn’t caution, it was dollars
I cents. People think that because a man
ia star he makes a lot of money. Even
di lv, after “Battle Cry,” Aldo’s salary is
.. der $500 a week. And after taxes, agents’
s, supporting his mother, putting his
>ther through USC, there isn’t much
)Ce-home pay. But “Battle Cry” con-
iced Aldo he had a future, so he leaped
o marriage with Jeff and tried not to
k at his bank account. The net divi-
rd so far is happiness, and I hear a
nor of a raise.
tobert Taylor’s ricochet romance with
sula Thiess started in 1952, but she didn’t
i( the ring — I mean the wedding ring —
til last May. It wasn’t that Bob wasn’t
pressed with Ursula; the fact was Ur-
a wanted to be sure. Bob and Ursula are
e the waiting was worth it — especially
n with a baby on the way.
Lnd while we’re waiting, isn’t it great
it Debbie Reynolds won’t let anyone, not
in the impatient columnists, rush her
rriage plans. “It’s not until June”- — the
dding with Eddie Fisher, Debbie told me
fnitely at the Pier Angeli-Vic Damon?
eption. “A good thing can always wait,”
ji Debbie. I’d say she’s about seventy -five
cent right.
The End
TO REACH THE STARS
In most cases your letters will reach
a star if addressed in care of tile
studio at which he made his last pic-
ture. If you have no luck there, try
writing to each star individually,
c/o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Cal.
Allied Artists, 4376 Sunset
Drive, Hollywood 27
Columbia Pictures, 1438 N.
Gower Street, Hollywood 28
Samuel Goldwyn Productions,
1041 North Formosa Avenue,
Los Angeles 46
M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow
er Street, Hollywood 38
!t
Republic Studios, 4024 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 W.
Pico Blvd., Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City
Warner Brothers Pictures,
4000 West Olive Avenue, Burbank
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( Continued from page 35)
can’t keep my eyes open.” And in the wide-
awake department, it’s so typical of Holly-
wood that Rock and Bill Holden had never
met. As everyone knows, Rock won that
coveted starring role in “Giant” when Bill
wasn’t available. Well, one day Rock went
into the U-I steam room and there was Bill
who had come over to sweat it out. For a
moment there was an embarrassed silence.
Then Bill introduced himself and this is
how they got to know each other!
Last Laugh: Tucked away in forgotten
files at Warner Bros, there’s a talent scout’s
report on a then unknown little lady named
June Allyson. “Too difficult to cast,” it
reads. So today Warners is paying Miss
Difficult-to-Cast $200,000 for playing op-
posite Alan Ladd in “The McConnell
Story!” . . . And once upon a time M-G-M
turned thumbs down on Mitzi Gaynor be-
cause she was too “scrawny,” “immature”
and “inexperienced.” Today they’re thrilled
to have her on their payroll and, whether
newly married Vera-Ellen retires or not,
Miss Mitzi gets zee grand and glorious
build-up.
Hail and Farewell: Glamour puss Elaine
Stewart, who is generally interested in doc-
tors and particularly interested in Dr.
Herman Platt, admits she’s finally serious.
If and when it happens — “We’ll announce
our engagement one day and marry the
next” . . . Handsome Jeff Richards waited
until his wife returned from Florida, where
her sister had a baby. They talked things
over again. Result, Jeff packed his bags
and moved out because, “We were not com-
patible!”
Medium Rare: The Gower Champions, now
out on a dance tour, spent their last night
in town with good friends Janet Leigh and
Tony Curtis. “Send us a steak when you
get to Kansas City,” kidded Mr. C. Gower
and Marge didn’t forget — only they sent a
whole side of beef! Speaking of the inimi-
table Tony, guess who thinks he has the
most versatile talent in Hollywood? None
other than Jose Ferrer — praise from Caesar
indeed!
Gable-Gram : It’s so much hooey, that
printed report that his doctors tabooed
cocktails for Clark Gable. The King’s health
is churning and so is his interest in Kay
Williams Spreckels and not Marilyn Mon-
roe as 20th subtly hints! When Clark went
duck hunting recently, it was Kay whom
he asked to hostess a party for him. She
made arrangements with Chasen’s whe
they cooked and served the wild birds
their private dining room. Clark loves ga
so Kay dressed up an hysterical-looki
dummy and placed it at the head of t
table. The lady guests were instructed
wear sweaters and tweeds and — “no pea;
or mink allowed.”
Bright Star: The new year started o
with a big bang for Tab Hunter. Three st
dios tried to borrow him from Warner Brt
and were turned down cold. Then Jol
Wayne ran a print of “Battle Cry” and b
came so enthusiastic about Tab’s perforr
ance, he went in and tried to buy up 1
contract for future Wayne-Fellows produ
tions. When he heard the asking pri<
“Duke” just grinned and shook his hea
“Sorry,” he said, “for that amount I cou
get the state of Texas!”
Blessed Bundles: It’s true! Arlene Da
and Fernando Lamas were buying tii
garments for an expected baby — the ba
Elizabeth Taylor and Michael Wildis
are expecting! “Someday soon,” sighs t;
beautiful one, “we’ll be doing our oi
shopping — I hope!” . . . But the Howa
Keels have already placed their order wi
the stork. They expect their third baby ne
June. “Boy or girl, it’s name will start wi
a ‘K,’ ” says the singing star, “that’s o
system and it always brings us good lucl
. . . The Guy Madisons are also wear!
that happy look!
The Truth Is: Doris Day actually gj
lost the first day she worked on the hu
M-G-M lot in “Love Me or Leave Me.”
messenger came to her rescue and guid
Do-Do back to the sound stage! . . And tl
same studio couldn’t give Eleanor Park
a day off to buy a wedding dress. When s
married artist Paul Clemens the beautii
redhead wore a gray lace gown that waf
strapless formal last year. Eleanor sent
back to designer Don Loper, who set
long sleeves and a top!
News About Twos: Reporters and eag€
beaver jewelry salesmen are turning Ma
Ion Brando’s life into one long game
hide and seek. And if his engagement
his French fiancee is just a publicity stu
he sure does give another Academy Awa
performance denying it! . . Naturally De
bie Reynolds doesn’t date when Ed(
Fisher’s out of town. And Barbara Ru
doesn’t want to date until her divorce
settled. So they go to the movies togeth
The End
'Jteui!
Stories about your favorite stars —
TONY MARTIN
GISELE MacKENZIE
Singing Cinderella of "Your Hit Parade
'PlcU
BOB ROCKWELL
"Our Miss Brooks' " Dreamboat
all in the big MARCH TV RADIO
92
Pursuit of Happiness
h;
(Continued from page 39)
‘Guys and Dolls” and you can bet your
bottom dollar that he’ll be, as good in this
as he was in “On the Waterfront” and
‘Desiree” — for whatever else is said about
Brando, no one has yet accused him of
not being serious about his work. Serious?
Rather, he’s dedicated!
Whether or not Josane is the girl to
share that dedication, to take a back seat
'to Marlon’s career, only time can tell,
losane, for all her youthful nineteen years,
[is ambitious. And as Marlon said, “She
as a lot of growing up to do yet. Jump-
ing right into this thing (marriage)
wouldn’t be fair to her.” Fair or not,
Josane wanted an immediate trip to the al-
;ar and wedding plans proceeded immedi-
ately. So far, she has been able to avail
aerself of television offers that have come
about as a result of her romantic attach-
ment with Brando. All hats will have to
be doffed to little Josane if she makes a
go of marriage for love.
For genius husbands have mentally
and emotionally disturbed more mature
vomen than Josane. A taste of what is in
store for her, as long as Brando is a
aopular performer, came wayback last
Dctober.
Brando had arrived in Paris last Oc-
tober after a trip aboard the lie de France.
h Paris he found refuge with his friend
Jderve Mille, Director of Paris Match, a
rrench magazine. Josane came up to
oin him from Bandol, where she had been
paying with her parents since July. She
lad gone directly to Bandol from Holly-
wood where she had been a frequent vis-
tor on the set of “Desiree.” In Paris, Mar-
on took her to various restaurants and
:ven told newspaper friends they were
engaged. Typically, his newspaper friends
lid not take him seriously for they re-
nembered another incident of his “en-
gagement” to Denise Darcel. Brando even
went so far as to have his “engagement”
ihotograph made with Josane. While he
managed to avoid all but his closest
riends among the newspaper people, he
old everyone he was going to the French
tiviera to get away from newspapermen
md get a rest. Sending Josane back to her
>arents in Bandol, Marlon did just that.
In Nice, Brando was interviewed by the
>ress with shaving cream on his face and
when he was asked where he was going,
le told the truth. “I’m going to Bandol,
hen Rome, then Paris and then back to
'Jew York. Next year I must make two
Urns here, one in France and one in Italy,
cannot at this time give you any details,
iut you will surely see me again in your
leautiful country. This is my fourth trip
lere, and I am beginning to feel at home
jn France. Your Frenchwomen manage
0 be the most attractive in the world,
vithout having to buy clothes at the big
dressmakers. An American is impressed
y seeing them on the street. How chic
ind well-dressed they are even though
hey don’t have much money — they have
xcellent taste.” Incidentally, Brando
peaks excellent French and when con-
ersing with newsmen speaks in their
anguage. When speaking with Josane, he
peaks partly in French, partly in English.
From the moment Brando reached Ban-
01 until he returned to his home at the
larnegie Hall apartments in New York
l'ity, his love affair with Josane was car-
fed on in the public eye. After taking
he train from Nice, Marlon arrived at
’oulon from which he had to take a bus
3 Bandol. There he found a taxi which
took him to Henri’s, a small bar, over
diich there is an apartment in which
osane Mariani’s mother and stepfather
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live. Josane’s mother had married Paul
Berenger, a local fisherman, after she was
widowed during Josane’s childhood.
As Brando alighted from the taxi, he
called “Hello, Baby” and Josane ran to
meet him. And as they embraced each
other, all Josane’s girl friends came from
neighboring houses and the introductions
began. This was the American actor about
whom Josane had written from the United
States and about whom she had talked re-
peatedly since her return home.
In their modest three-room apartment,
the Berengers had prepared for the ar-
rival of this great star. New chintz cur-
tains were put up, the Provencal furni-
ture polished and shined. A couch was
prepared for Marlon to sleep on in the
dining room. Marlon planned to stay just
two and a half days and it was during this
two-day stay that the Berengers inserted
into the local papers the now-famous sen-
tence— “Mons. and Madame Berenger are
pleased to announce the engagement of
their daughter Josane to Mons. Marlon
Brando.”
If Marlon had deliberately designed a
more spectacular way of disturbing his
own peace, he couldn’t have done a better
job — he had exploded his own personal
atomic bomb. By noon the next day, lit-
erally hundreds of photographers and re-
porters arrived in Bandol, one even flew
there from London in his newspaper’s spe-
cial plane.
It was then that the whole story of
Josane Mariani’s background came out and
Brando’s love for her was revealed. Jo-
sane was a model for the late Kisling, one
of France’s famous artists, whose wife dis-
covered Josane and was struck by her
youthful beauty. Madame Kisling con-
vinced Josane’s mother that Josane should
pose for her husband. After several
months of working for the artist and his
wife, she allowed Kisling to paint the two
famous nudes over which there was so
much newspaper comment. Through the
Kislings, Josane met a New York psychia-
trist and his wife (not the one Brando has
had sessions with) and came to New York
as tutor for their children. Here, through
Kisling’s influence, she got a tiny part in
a Jose Ferrer New York stage play. Mean-
while, Josane had enrolled in a dramatii
school and it was through one of thei
parties that she met Marlon.
Naturally, because of the large part the
the late Kisling played in Josane’s life, .
was at Madame Kisling’s villa that Josan
and Brando had their first meal in Bandc
(Madame Kisling’s villa has now bee
turned into a restaurant). Incidentally,
was here during Josane and Marlon’s sep
aration that Marlon was able to reac
Josane by telephone from the Unite
States. Josane would go to the villa at ap
pointed hours and there await his tele
phone calls.
Josane has the words which Mario
cannot (or will not) say about his partic
ular pursuit of happiness. “Marlon i
tired of big hotels and of all the publicit
around him. I was hoping my countr
would give him the peace and quiet h
seeks. My parents live very simply frox
the profits of my stepfather’s fishinj
That’s all. We’re happy. I believe, z
does Marlon, that happiness lies in sim
plicity.
“Why do they say that Marlon is eccen
trie? Just because he doesn’t like news
paper people to ask him personal question:
That’s why this legend of eccentricity hs
been built around him! For example, her
he wore a knitted sailor’s shirt. What
so extraordinary about that? He rente
a scooter. Millions of people rent scooter
It’s fun. What’s wrong with that? He :
a boy with simple tastes, that’s all. It
nobody’s business whether he writes ir
often or not, or whether he phones me c
not. I want everyone to know that thos
who believe that Marlon is like the perse
he played in ‘Streetcar Named Desire,’
is not true. He is a good steady boy an
ours is a pure story, deformed by h
world fame.”
Perhaps Josane’s picture of Brando
more accurate than she realizes — the pic
ture of a genius in our times who mu:
somehow or other get back to the simp
things. For the thirty-year-old Brand
perhaps his release from genius lies not i
the champagne of the twenties, but j|
sailor shirts and scooters. Perhaps wil
Josane, such a simple life can be his.
The End
No Man Walks Alone
( Continued from page 47)
“The Caine Mutiny” or win hearts, not
with a boyish grin but by a sensitive and
moving portrayal of a reformed alcoholic
and father in “The Last Time I Saw Paris”
would have been lunacy. He wasn’t an
actor in 1951, he admits, he was a person-
ality. Such roles went only to established
dramatic stars.
A lot has happened since then to Van,
to his career and to him personally. You
can feel this when you talk to him. When
Van speaks today, the old Van is still
there — warm, gentle, friendly, but there is
g subtle difference. There is more fire
to the warmth, more assurance in the
friendliness and more strength in the
gentleness. The eternal boy the studios
had prepetuated has disappeared. Van
now speaks with the authority of a man
who has lived long with the questions con-
cerning his faith and has arrived at three
satisfying conclusions.
“I have the things no man can take from
me: my faith in God; my wife’s, my chil-
dren’s and my friends’ faith in me; and a
growing faith in myself,” he said recently.
“I’ve gone through all the phases: naive,
starry-eyed, awed, sophisticated, finally
came back to the elementary truths. The
great things in life are simple. I think
we’re discarding the phony facade of
sneering sophistication of the last era ar
coming home to honesty, faith and ou
going love.
“Look,” he said suddenly, with the f;
miliar gesture of running his ham
through his hair, “this is all pretty pen
sonal and a rather probing subject to deb I
into. But if by reading of my struggles
take the crosses and blessings of lii
someone else will get belief and hope th<
sure, let’s talk— we can talk all night
fact. Okay? Okay.
“In my search for happiness amid coi
fusion and sometimes even despair thr<
things helped me. They are my faiths.
“The first of my three faiths is in Go
My father and mother were separati
when I was three, so I thank God that n
father, who raised me, believed in tl
Scripture: Train a child in the way 1
should go and he will not depart from
For Sunday school and church were hat
to me. Every Sunday morning I waiti
for Virginia Sullivan, nee Cutter, a de
family friend, to pick me up. I learned
God and His mercy, grace and love; and f
me, the most important of all, blind faith
a built-in armor for the human fears, ii
securities and uncertainties that come
every man. There, in the old Trini
Church in Rhode Island, I learned enoui
to help me keep a balance and a sense
94
values when I finally spread my wings
and tried to fly by myself.
“The second is the deep and abiding
faith of my wife, Evie, and my friends
which was a wonderful revelation to me.
Although I had gathered a hope chest of
New England antiques for a future home,
I was still living in hotels, feeling free and
unattached, and enjoying my success when
the sudden pang of loneliness hit me. At
thirty, I was what men like to call a
confirmed bachelor and what women call
eligible. I became aware of Evie just a
shade before I became aware of my loneli-
ness,” Van laughed. “Somehow it didn’t
take the confirmed bachelor long to realize
that he had been missing the most impor-
tant part of life — sharing it. Sharing love
and fun a man expects from marriage, but
certainly the faith and belief that Evie
has in me is way beyond what any man
should expect. Too, my friends, and some-
times strangers, have reached out in faith
to make the difference between success and
1 failure.
“And the third part, the faith I have in
myself, is much less of a driving force
than the other two,” Van said soberly. “For
I am filled with the same self-doubts, lack
of confidence, lack of vision and faltering
faith as other men. Insecurity itself fired
my early ambition.
.“When I sit in church on Sunday, mem-
ories of the old Trinity Church and my
childhood flood over me. I feel a sadness
at the loss of that child’s purity of accep-
tance. As the entire congregation unites
in prayer and I can feel the full power
of it, I wonder how many others are try-
ing to recapture the simplicity and blind
Ifaith of a little child.
| “I’ve never admitted this before,” Van
said sheepishly, “but when I was a kid, I
used to dream of high, long gray walls and
long corridors. I figured it out then that
they had to be a movie studio. It was a
recurring dream. The desire to act came
at an early age and never diminished.
That dream of high, long gray walls and
corridors was filled with longing and un-
tapped ambition. Years later, after a lot
of hunger and hoofing, Warners brought
me to Hollywood. The studio was exactly
like my dream — except the walls were
beige. Warners dropped my contract and
the inevitable conclusion of the pattern
came when I was signed by M-G-M. It
was exactly like my dream with gray
walls. And M-G-M is where I stayed for
years and became the boy -next- door, with
a grin.”
From a dream of burning ambition for
a boy to relaxation for a man is making
a lot of use of just one dream. Maybe it
was the Swedish heritage and New Eng-
fland upbringing that kept Van stubborn
or determined enough to stick to one
dream — one ambition throughout the
rough times that followed.
Van put time limits on himself. The
first time limit was one year. He’d finished
high school and was doing nothing but
writing letters for his dad and keeping
the books on the plumbing business. Then
, he was asked to the Newport Army Base
[parties. He met kids from all over the
world. Their homes were decorated with
the beauties of Hong Kong, London, Paris
and Vienna. They talked a different lan-
guage. They lived in a brand-new won-
derful world and Van started wanting. He
became excited and discontented and full
of the wonder about the world outside.
Van started for New York and a new
world with his father’s blessing, the faith
of his friends and the feeling that God
was on his side . . . and very little money.
He had given himself a year to prove his
ability. He looked forward to seeing his
imother and stepfather in New York. He
aad not seen his mother in fifteen years.
< “I want to say right now that I’m all
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for taking the plunge in extreme youth,
for youth does not know that it is suffer-
ing or fighting the impossible. Frustra-
tions and despair? Yes. But youth naively
and stubbornly holds on to a dream.”
When one looks back at the expended
energy, the force and limitless drive that
go into the first impossible effort to estab-
lish oneself, one turns pale. For Van it
was endless agents’ offices, tramping from
theatre to theatre, being hungry and being
locked out of his hotel room. It meant
wiring Dad collect in desperate humilia-
tion for the nine bucks that would let him
back into his room.
“Somehow Dad always came through.
But I didn’t,” Van sighed. “I became so
engrossed in myself that I couldn’t see
what I was doing. Caught up in the cold-
ness of New York and the fear of myself,
I discarded my spiritual life. Trudging
from one agent’s office to another I com-
forted myself with the thought, ‘If God
be with me,’ and suddenly I realized that
I had left God out. The aloneness I felt
wa: not New York, but in me. I had been
stumbling along on my own without faith.
I turned into a Christian Science Reading
room and sat quietly reading and restoring
my soul for two hours. Every day after
that I made a point of including the read-
ing room on my daily routine of looking
for a job. Although I am an Episcopalian,
I received spiritual nourishment there
when my food for the day consisted of
only a hot dog.”
Persistence started paying off. Van began
getting little jobs. His first was at the
Entre Nous for fifteen dollars a week for
four weeks. By the time “Too Many
Girls” came along, his time limit had been
upped to five years. He’d made some
friends and some headway in show busi-
ness. He was still hoofing and singing in
the chorus, but he was kicking higher and
singing louder than anybody else and it
was then that the faith of a friend gave
him another boost on the way. At 11 a.m.
every morning, Jerry White drilled him
in the understudy parts. Van went on in
the chorus at night, but during the day
Jerry taught and prodded. Climbing to the
balcony he’d roar, “I can’t hear you,” or
“Pick up those feet.” Finally one night,
Van got his chance. He took one of the
leads when a star fell ill. It would be
nice to say he was discovered and that
was that, but unfortunately, it was only
an opening wedge.
Later Jerry White pushed him for a
role in “Pal Joey” and George Abbott, the
director, agreed. By the time the show
reached New York, Van had acquired ten
lines, and a song reprise because Gene
Kelly was too winded by a very intricate
dance routine to sing it. He wasn’t a star,
but it was enough to be noticed. So, in his
sixth year, Van was on his way. During
those six years he’d spent every extra
penny on dancing and singing lessons. He
didn’t relax for a minute. He was dedi-
cated and dedication takes work.
“It always amazes me,” says Van, “to
hear people say carelessly, ‘Oh, he has a
natural talent.’ The best truck driver is a
man who works at understanding his ma-
chine, getting the best from the truck and
using his knowledge to the best advan-
tage. Every profession is the same. Noth-
ing is so natural that it doesn’t take work
on our part and the desire to be the best.
It’s like the so-called naturalness of Spen-
cer Tracy’s acting. That kind of acting is
the finest and the hardest. To appear so
completely natural that the audience be-
comes engrossed in the characterization
and forgets the actor is the essence of act-
ing. To me and lots others, Spencer Tracy
is the epitome. Naturalness is a practiced
art.
When Van really started working in
Hollywood, it was a dream come true. He
worked so hard he literally knocked him-
self out. He went into one picture after
another without a breather. At the studio!
at 7 a.m. and home just in time to fall in I
bed exhausted.
“When I did go out socially, I was so
stage-struck and awe-stricken by glamour
of the names I was meeting,” Van grinned.
“I didn’t have confidence enough in my-
self to meet them as people.”
He started wearing his now famous red :
socks strictly as a conversation piece. 1
Those socks were social crutches and they*
served their purpose. He still wears them. 1
partly as habit now, partly as a reminder
of the big boy from New England with I
the stardust in his eyes.
“When I went to London and Europe
I was overcome by the crowned heads. 1
titles, sophistication and wealth,” Van ex- 1
plained with embarrassed remembering, <
“I was like a small boy looking in the
window of the greats in the world. And i
like a boy, I was shy and inarticulate. 1
felt out of place.
“It was five years later that it dawned t
on me that I was considered a star. I wenfi
back to New York and the full impact hil
me. People would say, ‘Why he hasn’l
changed a bit. Stardom hasn’t gone to his
head.’ I hadn’t honestly known it was
happening. I was frightened, and yet, ex-:
cited and triumphant too. I felt proud and
humble at the same time and prayed tc
God to make me worthy and help me dc
better work. This realization, too, helped
me to regain my sense of humor and my
sense of values where people were con-
cerned. I’ve always liked to meet and
know people, and I started then meeting
them as individuals instead of names. ]i
found then, as now, that the greatest per->
sonalities are the ones who have returnee
to the simplicity of life. Full of outgoing
interest, honesty and warmth, they are
stimulated by the prospect of tomorrow.
“Two of those greats,” Van said soberly
“are Spencer Tracy and Irene Dunne. Thej
reached out and touched me with fait!
when my life and career hung in the bal-
ance. We had worked only two weeks or
‘A Guy Named Joe,’ when Evie anc
Keenan Wynn rode to the studio with me
that day my car was sideswiped and t
guy named Van ended up in the hospita ter
with a possible brain injury and the ver-
diet he wouldn’t be able to work for ;
year. M-G-M could have easily scrappec
the two-weeks’ work and replaced me, bu
Irene and Spencer insisted on waiting fo:
me. When the studio decided to hold uj
production, I was deeply grateful. I real-
ized that everything happens for a reason
As I lay quietly in that room, I understood L.
the reason. I knew that people were pray-
ing for me. I felt those prayers and thi
vibrations of them in that hospital room
After years of rushing activity, I was quiet
I was alone and thinking. I had no visitors
Objects in the room began to take 01
meaning. The flowers that filled the roon -
daily became friends. For the first tirm
I clearly saw the contour of a rosebud, th<
indefinable spreading of a flower into ful
bloom, the pure and absolute beauty o
color. I even weaved imaginary images 0
the florists’ lives. I became fully aware 0
the deeper dimension in man when h
takes the time for quiet and aloneness
I have jealously guarded the right to quie
ever since.
“With prayers vibrating around me am
the inner serenity of peace and under
standing, my body and head knit long be
fore the year the doctor predicted. I wa
out of the hospital in four months, with ;
scar on my forehead and a glowing grati
tude in my heart,” he said softly.
“When Evie and I were married, I real
ized two things immediately. One wa
that I had been missing the most im
portant things of life. Giving and receiv
g love, sharing and becoming responsible
ir someone else help round out the com-
ete circle of a man’s life. The other thing
learned was that I’d been a bachelor too
ng! In thirty years a man manages to
■ttle into some pretty solid ruts of living,
was no exception. My first problem was
r the first time in my life sleeping in the
ime room with someone, let alone the
me bed. Now, I find I’m miserable if I’m
1 location and Evie isn’t in the same bed
nudge me occasionally. Becoming a
ther overnight,” grinned Van, “also came
a shock to my bachelorhood.
‘I found the boys, Ned and Tracy, quickly
ke over moods. I used to stagger out of
;d at 8 a.m. and drive them to school,
will admit that I am not the happiest of
en when I wake up. But I didn’t realize
at I was putting a damper on the boys
itil one morning they turned and asked
e why I was mad. That jolted me. I
asn’t mad; I was being selfish. I was
:althy, the sun was shining and I was
orking, so I decided to change my moods
the a.m. I found a cold shower helps
imensely. You may be numb when you
Iive your kids to school at 8 a.m., but you
jn’t look mad, you’ll just look startled.
“By the time Schuyler was born, I’d
irned a lot about being a father, includ-
:g the children’s almost blind faith in me
id my desire to live up to it. Evie and
discovered that the times they woke up
ying in the night were the times we’d
rgotten to go up and tuck them in or
ere hasty in saying our good nights.
. ter prayers and their good-night kiss,
•; try to leave them with a feeling of love
d affection. Now, even after a dinner
Irty, I go in and check the kids. I always
: 'ss them and say something reassuring.
I lay be it gets through or maybe it doesn’t,
kt I have warm memories of being tucked
i by my dad or my grandmother,
f “To me, Evie is the nucleus of this good
e. She is everything to everybody and
ways has a little extra to spare in case
an emergency. Her belief in me is over-
• iwering and has bridged many a possible
saster or crisis. She spoils me by match -
- g her mood to mine. She understands
lb so well that she knows without a word
lether I’m happy, content, worried, de-
' essed or miserable. She has the right
iswers at the right time. Maybe the
::t that she was a fine actress helps, but
:e’s the greatest ad-libber out of show
Isiness. She also indulges,” Van admitted
:amelessly, “in my rather peculiar social
ges. I run in cycles. I like to go on mad
ilurges of dinner parties and constant
'mings and goings. Then just as suddenly,
I want to change the whole routine to
Evie’s cooking in the kitchen and doing the
dishes together, barbecues with the kids
and nothing but the family and home sweet
home. Evie’s only complaint is that she’s
just getting her second wind and enjoying
one routine when I want to switch.”
Even without the routines, they could
keep busy. Friday nights they show movies
for the kids and their friends. Evie and
Van are constantly planning trips. He’s
a closet cleaner-outer, and it would be
impossible to clock their time schedule on
trips to the dentists, dancing school, piano
lessons and kid’s club meetings. Also Evie
and Van are going to take up golf. They’ve
decided to leave tennis to the youngsters
like Walter Pidgeon.
“But Evie is more than a wife, mother
and companion,” Van pointed out proudly.
“She has a theatrical judgment that I re-
spect deeply. She has become my con-
science and rock of faith in my career. It
was in fifty-one that I knew that playing
the boy-next-door had to end. I couldn’t
see any sunlight at the end of the tunnel.
All I could see was Van Johnson, the
grinning boy next door, carrying off the
girl-next-door into the sunset. I carried
my dilemma of indecision home with me
and my wife stopped looking at me as a
wife and started talking objectively. I was
so bogged down in type casting that I was
beginning to believe it myself. Evie knows
me very well. She knew I had to prove
something to myself, so she suggested I
prove it.
“Partly from her confidence in me, a
little faith in myself and a lot of faith in the
Lord, I decided to accept a club date in
Las Vegas. I had twelve days to get and
learn material, work with the piano player,
be fitted by the tailor, get my nerves to
a white hot pitch and start having the
same old nightmares. The first couple of
days on any picture, I always go home ex-
hausted and dream that I’m back in the
chorus and I can’t remember the routines
and everybody’s laughing. Great proof of
faith? Did you ever decide to leave a
comfortable niche you’d carved for your-
self and change jobs and use tools you
hadn’t used in years?” Van asked wryly.
“I was scared stiff. It was Evie who
talked back to my nerves for me. She
calmed me down, bolstered my waning
courage and practically held my deflated
ego in her hand. Even after opening night
and I was considered a success, I woke
worrying and continued gnawing at my
raw nerve ends until show time. Then my
faithful friend, Marlene Dietrich, walked
in while I was muttering, ‘This isn’t for
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me. What am I doing up here?’ She took
one look at me and started planting the
seed. ‘What are you talking about?’ she
demanded. ‘Why do you make yourself
miserable all day? Accept the fact that
at a certain hour every night you will be
frightened and have butterflies. But only
at that hour. Everybody who is good gets
butterflies.’
“That next evening when suddenly the
band sounded my entrance, the m.c. said
my name and the spotlight came rushing
past the curtain to pick me up in the
wings, I walked out to meet that audience
on blind faith and thrust in Someone big-
ger than myself. That moment wiped
away the twelve days of fright and falter-
ing faith. I was as a child again, blindly
believing and trusting. I proved myself,
but not by myself.”
He was still playing Las Vegas when
Stanley Kramer came up to discuss “The
Caine Mutiny” with him. Van had read
the book and was excited about the pros-
pect of working in the picture. By the end
of lunch, the deal was closed. As Van
rose to leave, he said, “Thank you very
much. I can’t wait to start on Willie
Keith’s lines.” Stan stared at him a
moment and then said, “I want you for
Maryk — not Willie Keith.” Van took the
bomb home to Evie, and quickly she saw
the challenge for him in the role. She
realigned Van’s thinking until he was
stimulated and excited about the picture.
“Sometimes I think I could be a bum,”
Van grinned, “just painting or making
straw hats on the beach at Acapulco if
Evie didn’t have the knack of exciting my
imagination about a role until I’m eager
for it. A lot of people are hard workers
because they know they are basically lazy.
I’m one. I’ve never really had a chance to
be lazy, but sometimes I daydream about
being a terrific beachcomber!”
Evie’s ability to constructively assist Van
professionally provides an outlet for her
own talents. And Van’s appreciation,
awareness of Evie, his honesty in openly
praising her is a trait deeply desired in all
husbands. Professionally, Evie deals with
the problem at hand like an excellent
director. She never tells Van how or what
to say or do. She merely creates a pic-
ture for him to fill in. This talent alone
is one that many working directors would
love to possess. A typical example is Van’s
drunk scene in “The Last Time I Saw
Paris.” Most actors are afraid of an un-
known quantity they have not experienced
before. Van is no exception. He had
never enacted a drunk and he was wor-
ried. Evie scanned the well-worn script
and read a couple of lines. Those lines
opened up his entire concept of a drunk.
Evie brushes off her prowess over and
beyond the call'of marriage by turning her
thoughts to Van. “I’ve worked with the
best of them,” she points out. “John Giel-
gud, Maurice Evans, Laurence Olivier and
Ralph Richardson, Paul Muni and from
the very moment I saw Van I knew he was
as good as the best of them. He calls it
a belief; I call it knowledge. I knew he
was ready for the switch to mature acting
long before he realized it. But the con-
viction had to come from him. It was true
that he went on opening night in blind
faith, trusting Someone bigger than him-
self. He was gambling with his career.
He had to prove that he was more than
the boy-next-door. And he proved it.
The pattern that followed has put the
stamp of maturity on his acting. First,
‘The Caine Mutiny,’ then the three-di-
mensional Charlie of ‘The Last Time I
Saw Paris,’ and he just finished his best
to date, Columbia’s ‘The End of the
Affair.’ The leading man of a Graham
Greene novel is forced to prove his versa-
tility. Van is more than ready to show his
versatility. With his additional talents he
can make musicals or Westerns along v
comedy and drama. Van is growing, fa;
than he realizes, into the actor’s ai t
dream he has. When he discarded
boy-next-door, once and for all, he stai H
moving toward his idol, Spencer Tra>
Evie’s enthusiasm does not come fj
an over-zealous wife, but an astute ju e
of theatre and human nature. Van
pends on her keen perception of ] «
people and scripts. Although Van wc
have you believe that she is the seei
the family, Evie will tell you quite cal y
that Van is right in nine out of ten <
cussions. She is aware of her weakne:
and one of them is too-quick decision,
will say that’s the end of it in a qi It
burst of irritation, but Van will hold b
with, “No, no, now wait a minute.” i
when the air clears, as Evie says, Vai ’sj
usually right.
“For all his moods,” she reflected,
is a chameleon. He can shed his me
much more quickly than I. They ne
take him out of the house alone. He lc
his home and can’t be coaxed into spe
ing a night out ‘with the boys.’ Soi-
times I wish he would go out and the]
could catch up on a few domestic dun
But then I say to me, ‘Evie, count y
blessings!’ Van is also very sensitive
I’m glad. All interesting people are sen
tive, I think. At least with Van, the)
never a dull moment.”
Perhaps because of his broken home
childhood, Van has made his home a c h
ished symbol. He is giving his child!
everything that was important to him
many of the things he didn’t rece:
Above all he is instilling in them at;
to live by. For the child who sat in i
Old Trinity Church has vivid memon
And he wants his children to have i
same self-knowledge.
“I couldn’t live without faith and ]
and hope,” Van said quietly. “I woul i
get through a day. Faith communic
and works for me. The law of comper
tion has never changed. We get out of
what we put into it. I congratulated
man who played the chaplain in ‘Bat
ground’ on his reading on Lux R;
Theatre the other night. I was moved j
the depth of understanding he put into
long speech he had. He smiled and ,
that it was the second time I had t fi
good to him. Then he told me that a *
years ago he’d been called in from the i 1
set at the studio to do a small part i j
hurry. It was a Senate scene and tl I
were five hundred extras and me wai j
for him to start. He was shaking
nervous and glanced around for just e
look of sympathy. He said I smiled at n
and he found the courage to relax, 1 ]
his churning stomach under control d
read his lines. It seemed so little . .
was so little, I began to wonder how o
I let the lines of my face go up insi d
of down.
“Later,” Van continued, “I met a y
old lady outside the station door. I k
from the look on her face what she isl
going to say. She asked me for an ai -i
graph and then said, ‘You remind nr >fj
my son so much. He was killed in el
war.’ When we parted, both our < .‘ai
were filled with tears. Can I say I lc df
her in her sorrow? Sometimes we c. hi
a glimpse of a great truth. Both those - 1
cidents were man’s reaching out to i n
for compassion, sympathy, understand ?•
That outgoing love is the answer to 11 :
man’s struggle for peace, understand g,i
and tolerance.
“And that love begins at home. Sue >sj
or failure today, I still have a bright 1 e
for tomorrow. I have the three th |sj
that no man can take from me: My f hj
in God, my wife’s and children’s faith d
a growing faith in myself.”
The End , !
98
[f
Audrey Hepburn — the Girl, the Gamin and the Star
( Continued, from page 61)
hosts were James and John Wolf of Romu-
los Films. And they also had two other
guests — Jack Dunfee of MCA talent agency
and his young client, Audrey Hepburn.
Audrey confessed to me later that she was
speechless, especially over meeting Hum-
tlphrey Bogart, whom she had always ad-
mired. If anyone had told her then that
two years later she would be his co-star
in “Sabrina,” she would have retorted,
“Don’t look n<
bracking!”
now, but your crystal ball is
Of course, the easiest thing in the world
, jjto say after anyone becomes famous is, “I
always knew she had it in her.” In the
2ase of Audrey Hepburn, however, I
flimbed onto the bandwagon at once. I
was immediately enchanted by her fresh,
/oung beauty and natural charm and felt
;he had that something extra special that
Sllen Terry once described as “star quali-
;y.” I didn’t wait until her overnight tri-
umphs in “Gigi” and “Roman Holiday” to
i discover her great charm.
At that first meeting, I drew Audrey out
)y asking a lot of questions. She seemed
;rateful for my interest and answered with
he confiding warmth of an old friend.
‘Everything significant in my life has hap-
>ened gloriously and unexpectedly — like
he trip I am making to Monte Carlo to-
norrow,” she told me. “I’ve always longed
i o go to the French Riveria, but never
:ould afford it. Then this picture, ‘Monte
parlo Baby,’ turned up. I play only a
.! imall supporting role, but I never thought
’d even get that.
“The day the producer interviewed me
vas one of those days when everything
vent wrong. I had a terrible time finding
i stocking that didn’t have a run in it.
The zipper got caught in my dress. And
Jvhen I finally arrived at my agent’s
iffice, the whole interview lasted exactly
i minute and a half! I was sure I’d failed.
“I tried to comfort myself by telling
mother that if I went to Monte Carlo for
his small part, I might miss out on a
arger role in London. And anyway, some-
lay I’d make enough money so that we
ould both go to the Riviera on my ex-
iense account. Then suddenly the phone
ang and I heard those four words that
ire the sweetest music in the world to
ivery actress, ‘The job is yours!’ ”
As we parted at Les Ambassadeurs that
light and Audrey went home to pack for
Jonte Carlo, neither of us dreamed what
glorious and unexpected signifiance” the
rip was to have for her. The story is old-
lat now, but it will be forever new to
Audrey, because it changed the entire pat-
ern of her life.
It was while she was shooting a scene
or “Monte Carlo Baby” in the lobby of
he Hotel de Paris, that Colette, the famous
'rench novelist, stopped to watch Audrey
rom her wheelchair. The next day she
ent for her and announced, “Vous etes ma
Gigi.” And Audrey, who speaks French
luently, didn’t need an interpreter to ex-
Iain that she was Colette’s choice for her
Gigi,” dramatized by Anita Loos into a
tage play for Gilbert Miller.
Thus it happened that within four
nonths of our first meeting at that London
linner party, Audrey had attained Broad-
way stardom in “Gigi.” She had also been
creen-tested by Paramount for the lead
pposite Gregory Peck in “Roman Holi-
lay,” under a long-term contract. She
lad become engaged to one of London’s
lost eligible and popular bachelors, James
lanson. She had just celebrated her
wenty -second birthday.
When Audrey arrived in New York in
November, 1951, to open in “Gigi,” she
fell as madly in love with our town as we
did with her.
“I even enjoyed going to the dentist
here,” she told me. “Because when I look
out the dentist’s window, I can see Central
Park and it’s so breathtakingly lovely!”
We were having tea in her suite in a small
residential hotel in the East Fifties.
I was delighted to find that Audrey’s
overnight stardom in “Gigi” and the over-
whelming adulation that had come to her
since our first meeting hadn’t changed her
a bit. She was just then being sought out
by all the hostesses in town and pursued
by the El Morocco stag line. But Audrey,
brought up by a Dutch mother in war-
torn Holland, learned discipline at a very
early age. She refused to be distracted by
social things.
In her work, she drove herself relent-
lessly. And although her natural reserve
sometimes resented it, she accepted with
good grace the demands made upon her
time for photographs and stories about
herself in magazines and newspapers. She
rightly saw it as part of any successful
actress’ career.
She steadfastly refused, however, to
break into her time for social engagements
during the week. And her weekends were
devoted to her fiance, James Hanson,
whose business kept him in Canada a great
deal. If he couldn’t fly to New York to be
with her, she would grab a plane after the
Saturday night performance and fly to
him.
Audrey, let it be noted, has always been
a one-man woman. When she came to
London and landed her first job in the
chorus of the English revue, “Sauce
Piquante,” she fell in love with a young
Frenchman who was playing the lead.
He was beaucoup crazee about her, too,
and persuaded the producer to take her
out of the chorus and allow her to share
a number with him.
This was the puppy love of two earnest
youngsters, with stars in their eyes — for
the marquee of a theatre! It was beautiful
while it lasted, and when it became “just
one of those things,” it was “goodbye,
dear, and amen.”
And when' Audrey closes a chapter, it
stays closed. She may look as fragile as a
lady in a Fragonard painting, but she has
an implacable will.
Jim Hanson, unlike Audrey’s first love,
was not of her theatre world. Hanson was
a highly successful businessman, young,
wealthy, socially prominent. As an attrac-
tive bachelor, he had all doors open to
him. And one of those doors led him to
Audrey Hepburn.
Audrey’s career is the all-absorbing pas-
sion of her life. Yet, she seems to feel the
need of “a man around the house.” Some-
times these interests are incompatible, as
proved true with Audrey’s second love.
Her engagement to James Hanson lasted
a long time, but their plans for marriage
grew dimmer and dimmer as Audrey’s
career took her further and further away
from him.
“When I marry James, I want to give
up at least a year to just being a wife to
him,” Audrey told me during one of our
tea sessions. “I can’t do that now with the
road tour of ‘Gigi’ ahead of me, and then
the ‘Roman Holiday’ film on location in
Italy.
“James is being wonderfully under-
standing about it. He knows it would be
impossible for me to give up my career
completely. I just can’t. I’ve worked too
long to achieve something. And so many
people have helped me along the way, I
don’t want to let them down.”
It was this growing knowledge that
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Audrey wasn’t ready to sacrifice her career
to marriage that helped soften the blow
of their broken engagement a few months
later. Audrey and James have remained
good friends. When Audrey became Mrs.
Mel Ferrer in Switzerland last September,
James was one of the few of Audrey’s
exclusive circle to be invited to the pri-
vate ceremony. He appreciated Audrey’s
thoughtful gesture, but sent his regrets —
an Englishman to the manner born.
Speaking of Mel Ferrer brings me to
another flashback. The time is May 31,
1953, and the setting is again London —
two days before the Coronation. Greg
Peck, who had a charming duplex flat in
Grosvenor Square, invited me to drop by
for cocktails. When I arrived, I was de-
lighted, but not the least surprised, to
find two other chums — Audrey and Mel.
Audrey and Greg had developed a mu-
tual admiration society during the filming
of “Roman Holiday.” In fact, there were
even veiled hints that their screen romance
might continue after the cameras had
stopped grinding. As for Mel, he and Greg
had a common bond of interest. Both had
for years shared a desire to bring legiti-
mate theatre productions to the California
Coast — a dream that had become a reality
at the La Jolla Playhouse every summer
since 1947.
In the spring of 1953 Mel was filming
“Knights of the Round Table” at Elstree,
near London. Greg’s flat was “home” to
Mel. And it was perfectly natural that
through Greg, Mel met Audrey Hepburn
for the first time.
But if anyone had told Greg then that
with this introduction he brought together
a future man and wife, he’d probably have
said, “You’re off your rocker!”
As a matter of fact, if I’d asked Audrey
at the time, “Would you want to marry a
man twelve years older than yourself,
twice divorced and the father of two
growing boys?” she’d have been equally
incredulous.
But when we lunched together the day
after Greg’s cocktail party, I didn’t ask
her this sixty-four-dollar question — not
only because there was no hint of a bud-
ding romance then, but also because Au-
drey is the kind of person who instinctive-
ly puts up the barriers between herself
and anyone trying to pry too far into her
personal affairs.
Outwardly Audrey is all warmth and
femininity — the kind of helpless, cuddly
creature that appeals to the protective in-
stinct in every man and woman. Yet,
beneath that exterior, she has the inpene-
trable emotional reserve of an introvert —
intensified by the stolidness of her Dutch
heritage. In her physical make-up, too,
she embodies this dual personality. At
home, sitting on the floor in beautifully
tailored slacks, turtle-neck sweater, no
shoes, with her feet curled up under her,
she has a gamin tomboy quality. In public,
at a first night or on the dance floor, she
looks every inch the real counterpart of
the reel princess in “Roman Holiday.”
The key to her universal appeal is that she
conforms to no set mold.
Audrey is not beautiful by the technical
standards of perfect beauty. She once
confessed to me that she used to be so
self-conscious about the unevenness of her
front teeth that she would rarely smile.
Yet, when she made “Roman Holiday”
and Paramount offered to cap her teeth
so that she would look like all the other
Hollywood glamour girls, she politely re-
fused. Nor did she let the make-up de-
partment pluck one little hair from her
heavy brows. Her eyes, of course, are
her most outstanding feature — they are
hazel and deepen in color when she ex-
presses emotion. Her figure does not have
the feminine curves of a Monroe or Turn-
er, but she is the envy of every worn
who suffers from overweight. Yet, belie
it or not, I have seen her resist the m<
tempting dessert to guard against one in
more on her extraordinary size eight,
When I first met Audrey her hair w
much longer. Then she cut it short i
“Roman Holiday” — then shorter for “0
dine” — so that now, in the amusing d
scription of photographer Cecil Beat(
“The woods are full of emaciated you
ladies with rat-nibbled hair and moon-p;
faces!”
Is it any wonder that Mel Ferrer f
head over heels in love with such a pr
vocative, desirable creature? Mel has ;
ways been attracted to glamorous, succes
ful women. As a matter of fact, his w
Frances, whom he married when he v,
a struggling young actor and she a stru
gling young artist, is the only woman
know whom Mel romanced before s
was a “Name.”
I can also easily understand why Audr
succumbed to Mel’s charm. Because k*
has that rare quality in an American m;
— he makes a woman feel like a worm
Perhaps it is his Puerto Rican heritai
but he has this quality which is fast dyi
out in our atomic age.
He also has another wonderful gift;
is a stimulating talker. On an evening
spent with him shortly after that fi
meeting of Mel and Audrey, we discuss
the theatre, pictures, travel, art and pe
pie. In the last bracket, there was talk
Audrey, her unaffected charm, her inn;
breeding and her inevitable Hollywo
success, once “Roman Holiday” was i
leased. But even when Mel told me
was taking Audrey to the theatre the ne
night, I didn’t attach any special impoi
ance to it. Because at that time the!
wasn’t any.
Although Audrey’s ambition was to
a stage actress, her theatrical experier
had been limited to one West End revi
And since she had neither the time nor 1
budget to go to the theatre, she had oi
seen about a half-dozen plays in all
her years. But she was so anxious to lea
that — even when she was in the chorus
“Sauce Piquante” and doubling at Cir
afterward — she had daily lessons in di
matic art. Her coach was one of the fin
character actors in the English theatn
Felix Aylmer.
In that summer of ’52, when Audi
suddenly found herself for the first ti
with the leisure and the money to go
the theatre, she was avid to see evei
thing. Lynn Fontanne and Alfred Li
were playing at the Phoenix in N
Coward’s “Quadrille.” I knew that Audi
had never seen this magnificent team
when Noel graciously sent me his hoi
seats, I invited her to go with me.
course, she was enthralled by their ma
spell, and later, when I took her aroi
to the Lunts’ dressing room to meet thi
she was like a wide-eyed child meet
Santa Claus for the first time. When j
fred asked her about “Roman Holida
she was flabbergasted that the great 1
Lunt had even heard about her. She wo
have been even more stunned if anyc
had told her that the following year
November 20, while she was in Hollywo
co-starring with Humphrey Bogart in “f
brina,” she would send me the follow
wire: “Darling Radie, now that the p
is all set, I’m able to give you the gi
news. It’s ‘Ondine,’ and guess who is go
to direct me — Alfred Lunt! Needless to £
I am happy beyond words, especially
being given the opportunity to work
and learn from him. How wonderful t
you introduced me to him in Lond
Much love. Audrey.” r
No one ever came to Hollywood for
first time under more fortuitous circu
to
M
ill
100
;ances than Audrey Hepburn. “Gigi” had
rought her Broadway stardom. “Roman
bliday” now made the whole world hers,
.nd nowhere in the world is success wor-
lipped more than in Hollywood. Every-
ne from Adrian to Zanuck wanted to
ieet her. The local and foreign news-
ipermen — all of them — wanted exclusive
iterviews. Paramount spread out the red
jlvet carpet for their new queen.
How did Audrey react to this wild ac-
aim? She was grateful for such rec-
jnition of her work, of course, but she
as scared. In the first place, she couldn’t
ffieve she was that good — and this was
j phony modesty. She was petrified of
ie blaze of public interest in which she
iddenly found herself.
In London, she had lived with her
other in an unpretentious walk-up flat,
f Park Lane. In New York, she had lived
one in a small hotel suite. In both cities,
le had led as normal a life as the sched-
e of any actress will permit. But in
ollywood, a word may be magnified into
quote — or a misquote. Would Hollywood
y to change her? To devil her life with
lse or little authenticated stories? In
jndon, libel laws prevented your name
S!om being linked erroneously in a ro-
ance item. Audrey knew she would have
i) protection in Hollywood for an item
ce this: “Can’t wait to meet Audrey Hep-
lrn and find out if her kisses with Greg
;ck are for real!”
When she expressed some of these fears
me, I advised her to go see the head of
e studio, Don Hartman, and tell him
:actly how she felt. I was sure he would
; in complete agreement with her desire
r the kind of publicity in keeping with
r personality. Romantic innuendos and
lether she wore falsies and slept in a
iuble bed with pajama tops or nighties
are definitely not that kind of publicity,
adrey took my advice and after her talk
th Hartman, she wrote me:
“Darling Radie: I just wanted to thank
u again for being such a friend. I was
touched by your consideration for me
at I would like to tell you how much I
ypreciated it. It is indeed all very new to
and strange and every bit of advice
so helpful. A year ago a line in a column
a rumor was enough to reduce me to
Iirs, but I am learning fast and taking
ings in my stride and above all keeping
myself. I remember asking you about
is when we first had lunch one day.
■. ank you again, Radie. My love to you.
iidrey.”
But as soon as “Sabrina” went into pro-
c ction, Audrey’s fear of Hollywood quick -
1 disappeared, and she began to love
jlr new home. After the fog and rain
( London, she lapped up the California
: snshine. She leased a charmingly fur-
nhed apartment, with a patio and swim-
> ng pool, which she shared with her
*3retary -companion, and she hated to
ive, except to go to the studio,
knd since she adored her director, Billy
'ilder, and the whole company and crew
< “Sabrina,” she hated to leave the studio!
When she came East to do the yachting
ijuence on location in Westchester, she
<ly had one day off. On that day she
died me to lunch with her at “21.” I
f md her thinner, which was under-
sindable when she told me that she
Siyed on at the studio after the regular
(y’s shooting for private ballet and sing-
si; lessons. But Hollywood’s make-up de-
ilrtment hadn’t changed her one iota.
’ hither had her success. She was still the
same sweet, unspoiled girl who had en-
chanted me at our first meeting. I would
have staked my life that she always
would be.
Two months later, Audrey wrote me
that she was coming to New York to start
rehearsals for “Ondine.”
“Am looking for an apartment,” her
firm, familiar scrawl informed me. “Mother
arrives the 17 of December for her first
visit to America. Imagine the excitement!
I plan to spoil her as she’s never been
before! ... I read your column faithfully,
and you are so wonderful to root for me
the way you do, always in the way which
makes me happy. You will hear from me
soon again. Lots of love. Audrey.”
I wrote back that a friend of mine, with
a lovely Park Avenue apartment, was
leaving for Europe, and perhaps Audrey
could take over her sublease. Back came
Audrey’s reply, “I think I will let you
guide my domestic life, too. It will bring
me the same good fortune as my career.”
When Audrey arrived in New York
this time, Mel Ferrer was with her.
He had seen “Ondine” in Paris, and it
didn’t take long to persuade Audrey that
she would be the perfect heroine to his
“knight errant.” With Audrey in the title
role, any management would have grabbed
this property. The Playwright Company
were the lucky winners.
Audrey, in appreciation of Mel’s “pack-
age deal,” not only shared co-starring
billing with him, but insisted on splitting
her per cent of the gross with him! It was
then that I began to realize, “If this isn’t
love, what is it?”
As the two of them plunged into re-
hearsals, they were inseparable, on-stage
and off. Actually, it wasn’t difficult to
understand the bond that brought them
together. Aside from Audrey’s undeniable
physical beauty, and Mel’s well-practised
charm, they both have a relentless ambi-
tion for their careers. Only their motiva-
tions differ.
Audrey’s is inspired purely from a crea-
tive urge to express herself with the God-
given talents with which she is blessed.
The knowledge that never again can she
enjoy the privilege of anonymity is a
penalty she willingly pays for Fame.
On the other hand, Mel wants to take
advantage of every door leading to his
success. The spotlight, publicity, fan wor-
ship are welcome dividends that pay off
at the boxoffice. He isn’t satisfied with just
acting. He wants to direct, write and pro-
duce, too.
His contagious enthusiasm and authori-
tative background knowledge found a soul
mate in young Audrey, so anxious to ab-
sorb everything that would help her
career. Remember, too, that both Mel and
Audrey are cosmopolites who are equally
at home with the International Set abroad,
as they are with their New York and
Hollywood circles over here. Both of them
speak several languages fluently, even
though they soon discovered that “I love
you” is the same in every language!
It wasn’t long after rehearsals of “On-
dine” started that the Broadway grape-
vine stage-whispered that Mel wasn’t
seeing eye to eye with Alfred Lunt’s di-
rection. I remembered Clifton Webb once
telling me, “I consider myself a veteran
in the theatre, and yet, if I had the chance
to be directed by Alfred Lunt, I would
consider it a privilege.” I couldn’t believe
that Mel didn’t feel the same way. And
knowing the respect Audrey had for Lunt’s
art, I felt that if there were any argument,
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she would never uphold Mel against Alfred.
I called Mel direct to check on the rumor,
and he said it wasn’t true. I was happy
to deny it for him, but very unhappy when
I learned later he hadn’t leveled with me.
I didn’t see Audrey during this hectic
time of rehearsals, but she would call me
from the theatre whenever she had a
breather. However, I caught up with her
mother, the Baroness Ella van Heemstra,
for lunch at Sardi’s.
The Baroness, from whom Audrey in-
herits her patrician beauty, kept me fas-
cinated with stories of her earlier life, and
Audrey’s. It seems that the Baroness and
her sister both wanted to study for the
opera. But in those days in Holland, the
stage was forbidden to girls of good family.
So the two dutiful daughters married and
gave up their career ideas. But the
Baroness vowed that if she ever had a
talented child she would do everything
to encourage her. During the war years
the Baroness, who had divorced Audrey’s
father, found herself and her eleven-year-
old daughter trapped in occupied Arn-
hem. They lived in the family castle, but
it might just as well have been a dungeon.
They had no light, food or heat. Even
their bicycles were confiscated by the Ger-
mans. The Baroness told me that her sis-
ter’s husband, Audrey’s favorite uncle, was
shot right before Audrey’s very eyes. A
harrowing experience for anyone, but to a
sensitive eleven-year-old, it was a night-
mare she never forgot. That Audrey sur-
vived this terrifying loss of her childhood
and grew up into such a happy, normal
young girl is a tribute to the courage and
love of her mother.
By one of the miracles of fate, a great
Russian ballerina, who had married a
Dutchman, was a nearby neighbor in Arn-
hem. And in those war years, whenever
Audrey wasn’t too weak from lack of food,
she studied ballet with this superb teacher.
“This was the only sunshine that lighted
the clouds of those dark days!” the Baron-
ess said to me. “Now to see my dreams
for Audrey fulfilled beyond my fondest
hopes is sunshine to my heart every day!”
The most distinguished ermine-and-
white-tie gathering of the season flocked to
the 46th Street Theatre the night “On-
dine” opened in February ’54. As the cur-
tain rose, my hands were clammy with
nervousness for Audrey. But my eyes
instinctively looked for her mother, sitting
with James Hanson (who, again, as in the
case of the “Gigi” opening had flown over
from London to surprise Audrey, even
though he was no longer her fiance). All
three of us were sharing Audrey’s first-
night jitters, as she waited in the wings
for her entrance.
When she had opened in “Gigi,” as a
young newcomer to Broadway, Audrey felt
that if she got by with passably good no-
tices, she would be happy. Instead she
got raves. “In “Ondine,” as a highly pub-
licized Hollywood star, Audrey knew she
would have to win critical and public ac-
claim, or it would be a demoralizing set-
back to her career.
But Audrey, as usual, underrated her
special magic. If she had been the film
critics’ No. 1. favorite after “Roman Holi-
day,” she was now the drama critics’
newest Valentine. They embraced her with
the kind of glowing notices that every
actress dreams of and few achieve. The
audience cheered and bravoed, hoping that
she would take one curtain call alone. But
with every bow, there was Mel, always at
her side. Finally, when the house lights
were on, and the audience still applaud-
ing madly for Audrey, Mel held up his
hand to hush the house for a curtain
speech. An acknowledgement to his lovely
co-star, we all assumed. But we were
wrong. Instead, we heard a flowery ex-
pression of thanks to Alfred Lunt, i
since this completely professional audie
was well aware of the backstage diff
ences between Ferrer and Lunt, this pul
recapitulation was received with sligll p
raised eyebrows!
I didn’t happen to like Mel in “Ondii ml;
I didn’t feel that he played his role v *
a bravura style of acting it demand :
There were others who shared my opi :
ion. But, because I didn’t want to hurt h
I hedged in my comments in my Hob
wood Reporter column. I merely wrote
wish as a ‘knight errant,’ Mel Ferrer hac
been such an ‘errant knight’ and ij :
given Audrey Hepburn a curtain call ale |
when the first night audience so obviorj
wanted it.” For some inexplicable reas ii
Mel never forgave me this criticism, a
It was incomprehensible to me that i
could so quickly forget all the com);
mentary things I had written about 1 lik
through the years and hold this one c: sni
icism against me, although this has b |q
known to happen in many a column! ;a
career. ;1
It was not, however, until four mor se
later — a period when Audrey had avoii ty
me — that she spoke of Mel’s continued . oi
tagonism over lunch one day. She " ling
obviously very embarrassed as she c toe
fessed that Mel had convinced her t| t p
I had betrayed my friendship with i kin
in my column, and I might do the same ieel
her. In other words, she wasn’t to ti in
me, now that she knew no colum: «
could be a friend, too. I felt that Audi in.
realized how unfair and unkind she ] h;
been to me in this purely hypothet:; s.
mistrust of me. She begged me to und; )e n
stand the emotional pressure of the 1 iks
year and kept repeating, “Please belii ny
I haven’t changed. I’m still your friei) :
When I returned home that evening, th lie;
was a lovely bowl of flowers waiting | for
me, “With love from Audrey.”
I was leaving for London the follow i s
week, and we made a date for anot -
luncheon visit, the day before my fli; in
A few days later, Audrey called to bri Ids
it, explaining apologetically that W: Err
Wyler was in town and she had to lia
him for business reasons. But could tli
stop by my apartment and wish me “ sk
voyage?” I was going to be out all <i rag
last minute shopping, so I said I’d stop
her dressing room before the evening j cm
formance. We chatted like old times, u;
her fifteen-minute curtain call.
Audrey didn’t come to London dui
my stay there, but flew directly to Si
zerland for her much-needed holiday £
was back in New York when the n
came of her marriage to Mel in the 1
Swiss village of Bergenstock. I call
them my best wishes, and I meant tli
sincerely. If Audrey has found the hi
piness she is seeking with Mel, that’s
we who love her want for her. What
their future plans? Audrey’s recent i
from Rome, where they are still hor)
mooning at this writing, made no men
of when she would resume her carl
But I know her next assignment is
other Paramount picture in Hollyw
I also know that in ’56, she wants to i
time off from the screen and returri
the theatre for a season of repertory
Stratford-upon-Avon or the Old Vi<
London.
And sooner or later, there will bei
independent picture deal co-starring
new Mr. and Mrs. team on the screen
stage, too. Future plans also includ
Hepburn- Ferrer “production” in the ii
sery.
Let’s hope that all of these plans
terialize. But let’s hope, most of all, <
the chapter closes, “And so they 1 3
happily forever after!”
The End
What's the Difference!
«r
Bi
( Continued from page 51)
>res around the house except washing
: cars.” She likes all household chores.
''' truly enjoy keeping house.” She weighs
*1 pounds and he weighs 155.
>he was excellent in all subjects at
iooI and at one time had planned to be-
ll ne a mathematics teacher. He always
ol ; very low marks in French and mathe-
tics.
sile owns six hats, all pork pies, and
Ken dressing to step out in the evening,
do bet is always the last to be ready. She
Hasn’t like Roquefort cheese except in
aSiad dressings. He goes for all kinds of
ieses except Liederkranz and Limburger.
■dhe has been to Las Vegas several times,
f'Pt has never played the slot machines,
lie likes to go there for the shows, the
Wimming and the weather and “I like to
Hch people.”
™lis extravagances are impulsive. “Any-
ng I dig at the moment.”
Mie seldom drinks hard liquor.
oiiThey both think Italian haircuts attrac-
i;ie “on some girls,” and both set aside
’?nings just for reading, “taking time
«t to catch up on books.”
t i>he prefers city life to country, and in
ly kind of disagreement between them,
ne: feels “that both of us are entitled to
trr own thoughts. If there is an impasse
mn3 we can’t mutually agree, then I should
)d:re in.”
He has an aversion to short “droopy”
sti;!ks.
idohe never plays solitaire.
1 le has few illusions, collects records as
diiliobby and his favorite stories are Jack
end the Beanstalk and David and Goliath:
thories of little guys up against big guys.”
g ither one can remember the license
mber of their car.
iwThey were married on June 4, 1951, in
otleenwich, Connecticut. Her latest pic-
i:'e is “My Sister Eileen,” and she has a
bruat desire to someday see India, Malay
,Vi 1 Burma.
o le hates hand-painted neckties.
] Jhe likes crossword puzzles,
fihe cares little for concerts, is bothered
heights and gets very impatient in
ivy traffic — “at people who don’t seem
know where they are going.” He once
Hinted to be a doctor.
le never wears glasses and hates to
Hive: “I’m always afraid of cutting my
Siioat.”
iiihe wears glasses for reading and she
njes at sad movies. Tony says, “They
p’t even have to be sad. She’s the only
:atb I know that can cry at a Disney car-
ti n.”
hf’Ie does not particularly care for pets:
is don’t think I dig any animal.” He sel-
a||n finishes anything he undertakes, but
i , let makes a very hard effort to finish
/thing she starts,
he never loses gloves,
he has difficulty remembering names,
no faith in fortune tellers or astrol-
■rs and wears a charm bracelet that
contains a Star of David and a variety
of saints. Tony owns a bunch of lighters,
but never carries one.
He dislikes flowers worn on the person
and gave up smoking a pipe because “it
was too much trouble.” She is overly fond
of peaches.
She never eats avocados, Brussels sprouts
or cocoanut. He likes to play gin rummy
and he refuses to improve his horseman-
ship in order to discourage the studio from
putting him in Westerns.
She drinks milk “only because it’s good
for me” and usually wears a housecoat
around the house. Tony is addicted to
wrap-arounds or East Indian pants for
home comfort.
Janet has a natural knack for tennis
and hopes to be a good player someday.
She is very orderly, wishes she knew how
to paint and prefers Scotch and water
on the rare occasions when she takes a
drink.
Tony reads a lot of science-fiction maga-
zines in which she has no interest. Neither
cares much for television. “We just don’t
like to waste time. Unless there’s some-
thing special that we want to see, we leave
it.”
She wishes she could speak French well.
They haven’t got a swimming pool, but
will have one in the new house. She is
an extreme perfectionist and never seems
to meet the standards she sets for herself,
and if she has had “a marvelous day” she
tries awfully hard to duplicate it the fol-
lowing day.
He is not an easy touch “because I don’t
carry any money.”
Tony believes that the greatest asset in
a wife “is that security that prevents her
from being influenced or affected by what
the Joneses have.” She has a weakness for
candy and desserts at night. She has great
patience and tolerance, but on occasion
can break out with a flash of genuine
temper.
She lacks any talent or feeling for any
kind of needlework. She is inordinately
fond of grilled hot dogs full of what she
calls “goop,” which is all manner of stuf-
fing. She wears toreador pants of black
denim, especially tailored for her.
He quickly forgets anything in which
he is not interested. He has to labor to
memorize dialogue, calls his parents by
their first names and recalls New York’s
Central Park with deep nostalgia: “It
meant so much to me in my boyhood.”
She drinks nothing that is carbonated.
“Once in a great while, maybe a little
champagne.”
He likes his shirts when “they have
been cleaned so often that they’re limp and
fit well.”
Janet Leigh and Tony Curtis seldom go
to night clubs, never feel dependent on
outside diversions to keep them from laps-
ing into boredom and, although they en-
joy having people around, they make it a
point to spend certain evenings alone.
The End
it
WATCH OUT
FOR THE APRIL ISSUE OF PHOTOPLAY
when Terry Moore tells how you, too, can have a glamour-girl figure in
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103
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104
Memo to my Husband
( Continued from page 57)
think: He’s really nine-going-on-ten, you
know, he doesn’t fool me for one single
minute!
You reminded me of a wistful little six-
foot-tall waif who, having been adopted by
rich and doting parents, couldn’t believe
that it was not all a dream from which he
would awaken.
You were sure you would awaken from
the dream you were dreaming in Holly-
wood Almost from the time we first came
to Hollywood, in 1943, we lived on a month-
to-month basis in this pleasant, white
brick Georgian house in Beverly Hills,
which we now own. And not until Dena
began to grow up would you buy the
place.
“We’re transients in Hollywood,” you’d
say, “why buy? We belong in New York.
Any day now we’ll be off and away . . .”
You didn’t believe in yourself — or in your
Star. You most certainly did not believe
your own publicity. You still don’t. You
didn’t think people liked you. You never
dreamed they could love you. It was not
until you began to realize they did that
the turning point came for you. . . .
It began to come, I believe, after the as-
tounding personal success you had, seven
years ago, in London.
It certainly astounded you. A few years
before, on tour with Sally Rand, which
included an engagement at London’s Dor-
chester Hotel, you excited little attention.
Characteristically, you expected more of
the same when you went back for your
second try. Instead, you received the great-
est welcome of your career. Remember,
we’d come out of the theatre, or a restau-
rant, any hour of the day or night and
find the street crowded — with kids, of
course (The Pied Piper of Hamelin would
be a natural for you) ; but also with sub-
stantial looking citizens of both sexes and
all ages and all of them calling, “God bless
you, Danny!” And when it became known
we were soon to leave London, they’d
yell, “Take care of him, Sylvia!” as we
drove away, echoes of, “Come back soon,
Danny, come back, come back!” followed
us for blocks.
And remember that time in Glasgow,
Scotland, when, on the night of your last
performance crowds followed you from the
theatre to your hotel, singing “Will Ye Nae
Come Back Again?” — a song written in
the time of Bonnie Prince Charlie and sel-
dom sung, unless with meaning and emo-
tion, by the Scots?
I know you'll never forget that little old
lady in the audience at the Palace Theatre
in New York when you were headlining
there a couple of years ago. When she
had to leave, she spoke up as familiarly as
if to a next-door neighbor in whose parlor
she was visiting: “You’ll have to excuse
me, Danny — I’ve been, but now I’ve got to
go home.”
In an equally next-door-neighborly
voice you asked, “What’s the matter, have
you got a pot roast on the stove?”
“Yes. And the potato pancakes to be
made.”
This touched oft a discussion between
you, the little old lady and others in the
audience about how potato pancakes are
made with favorite recipes swapped both
sides of the footlights!
Because you love your audiences so, it
takes you less than fifteen minutes on any
stage, anywhere in the world to make them
feel they’re in your living room or you
in theirs. You’re folks together, you and
your audiences. The things you tell them
are not from a file of jokes or from a script,
but are off the top of your red -blond head
or from within your heart. It’s because of
this, I believe, that wherever you go the
j’vc
colt
bou
same homely love of Danny, the man, L
well as Kaye, the performer is evidenci ' |
It’s because you love the sound and rhytl f r
of foreign languages and can double-t; V
them perfectly (although you don’t unde ■ .
stand a word!) that you can make a
diences in Afghanistan or Akron, Oh
feel equally at home with you.
Just last summer, in Johannesburg, Soi ' (
Africa, where you played a vaudevi jj
engagement which also combined work i ,j
your film, “Knock on Wood,” a mob ,
12,000 people stood outside your hotel wi j
dow chanting, “We want Danny! We wj .j
Danny!” And not until you made thi A.
speeches from the balcony of the ho "
would the crowd disperse. ?a, "
With all these demonstrations of aff«
tion for all these years, at home a
abroad, why did it take you so long ^
realize that the audiences you love a
love you? I always felt that the time '
took you to reach the top had something
do with it.
You’re often described as an “overnij
sensation” but to you this hurts.
“Anything but,” you say in what is i ^
you heated protest (off-stage you’re gent ,
spoken, mild as milk) . “What no one see ’ j
to realize is that, for twelve years bef< "
I got my break on Broadway with Gertru 1 J
Lawrence in ‘Lady in the Dark,’ I play : "■
every whistle-stop in America and beat l .*
brains out all over the world!”
Very few actors — good ones — are “c 6
once they’re off the stage. Nine out of 1 ‘ J
actors shed the ham in them along w f :
their costumes and make-up. But I hs ’
ne^er known any performer so complete
“off” as my Mr. Kaye once the lights d
and the curtain falls.
In contrast to your energetic, extrovt
high-pressure, zany personality on stc ;u
you are, in person, quiet, passive, un:
suming and not zany. You walk like
cat, soundlessly. Your voice is low-pitch
gentle, sort of whispery. You don’t t:
very much. I talk, you listen — that ty
Yet, when we entertain here at hoi ~
which you love to do, or go to parties a ;
you’re called upon to do a number you ‘
“on” in a flash, with a flash! Given a gc
audience, whether half a dozen people ;
our living room or troops number,
thousands in any of the world’s hot sp<
you’ll stay “on” until you are wring
wet and your audience wrung out!
If this seems a contradiction, it isn’t. 1
your modesty is a personal modesty. C
stage, you have true magic, true spontai
ity; you are also a very shrewd sho
man. But you don’t like to show off oi
the show is over — not even to me. 5: i
don’t even tell me half the time about
various awards you receive from J
ganizations and societies in different pe
of the world. I sometime go through y<
jewelry case and find things, with inscr
tions on them, which I have never e\
heard about!
For you, the kitchen is a favorite s{
You’re a great mixer and fixer, a lover I
putting together “mysterious dishes” in
Blender — which remain mysterious i
neither probing nor prying can induce 3
to reveal a single ingredient!
Or you like the bright, airy room off
main living room, known as “Danr 3
room,” where you make your phone cs ,3
entertain small groups, have your busin s
conferences— and listen to music. The < -
tire north side of the room is occupied I
a High-Fidelity sound system which 3 i
use mainly to play opera records. You p /
them so loudly that no one’s voice can 3
heard above the din, except yours; sii
ing note for note, all the parts of an op<
including the basso’s and the coloratur
One of your favorite renditions, wh 1
! _
1’ve now taught Dena, is a burlesque of
coloratura soprano in “Traviata.” After
bought the house, we equipped this
m of yours with an acoustic plaster
ling, a tape recorder and spacious floor-
ceiling shelves where all of your ree-
ls, including your guest-spots on shows,
kept. In this room, too, all of your
ihestrations are done.
, ’he rest of the room is furnished with
I'd immense long low couches, a couple of
iy chairs and our only television set,
j.ially with only Dena perched in front
it.
:)n three sides of your room all the doors
1 windows open onto the patio and
i)l area. Supple as you are, you’re a
dutiful strong swimmer and use the pool
quently in the summer when you and
ha swim together, but in the winter,
|1 leave such sports,” you say, “to polar
irs and seals!”
fou like your comfort. As relaxed as a
; doll at home, you want everything
ere you can reach it “without a reach.”
our living room (which is separated by
le doors from your room) is informal,
;h too much furniture, including several
las upon which you can drop from almost
Irwhere you may be standing, plenty of
comfortable chairs, a plethora of ma-
’any tables and ashtrays everywhere,
well as cigarettes and private dispos-
e cigarette holders and bowls of candy,
a walls, a pale green, are a restful color,
fou’re a home-loving man, Danny, and
I’ve observed that home-loving men are
dom egotists or exhibitionists, this may
another explanation of why it took you
long to realize that your star had risen,
jlodest as you genuinely are, you also —
ng human — and male — have a normal
lount of vanity. For instance, when you
k up golf and played in the low 80’s
l.hin a year, you didn’t exactly hide your
it under a bushel about that! Let one
those “mysterious dishes” of yours ex-
ct “Ohs” and “Ahs” from our guests
jl if you’re not preening and prancing,
at are you doing? But your greatest
lity is that you know you wear clothes
1 11 — as indeed you do — and you can come
from a whole day of golf in denims,
| haircut, tousled, sweaty-looking, take
bower, change and, in five minutes, look
peccable! And you cannot understand
'y I cannot do likewise! Fond of clothes
ii are, you’re fussy about them and
i/e an extensive wardrobe, lacking only
s which you never wear, and overcoats,
ich you loathe. On women you dislike
rings and veils so I, not without regret,
i/e given them up. In return, you shun
w ties which I abhor,
f Ve are opposites, you and I. I’m even-
tupered; you’re volatile. I’m analytic; you
!§ by instinct. I like steak; you go for
lister. I walk; you run. I talk; you
lien. But we laugh at the same things,
ie the same people, believe that “to live
al let live” is the only way. And in spite
0 being opposite, perhaps because of it,
v are happy.
four other and greater vanity (it isn’t
viity, really, but heartfelt pride) is in
t: love of Dena, who adores you and
fns to marry you.
: When I grow up,” our daughter has
r re than once confided in me, “I’m going
t marry Daddy!”
1 When she sees you on the screen, it is
vth mixed emotions. She enjoyed “Hans
(ristian Andersen,” but she didn’t like
y t paying attention to all those other chil-
c?n! When she saw you in jail, she cried.
when you sang the Ugly Duckling
umber to the little boy with the shaved
hid, she was off again!
Vben “Knock on Wood” was released,
v thought it would be good for her to see
i’ vith you. If anything on-screen fright-
ed or disturbed her, it would be reas-
suring to see you there beside her, safe
and sound. According to your report she
watched the screen very solemnly until
the dead bodies fell out of the closet where-
upon she roared with delight! The chase
sequence, your presence notwithstanding,
she did not like.
“It’s all right” she told you, her hand
in yours, “if it’s not your father.”
You understood.
“White Christmas,” without reservation,
she loves. When you sing alone, or with
Bing or the girls she sits enchanted. When
you dance those highly intricate dance
routines created for you by Robert Alton
(remind me to tell you that they establish
you as a great dancer) her eyes, her whole
face lights up like a Christmas tree!
Dena’s love of you is, happily, mutual.
You’re crazy about Dena (“This is news?”
I can hear you say), real crazy. You spend
all the time you nave to spend with her.
You swim together, play records together,
sing together. (Dena has always, from
babyhood, sung in perfect pitch.) You
take her to ride the ponies. When not too
late, she always eats dinner with us. She
goes around the golf links with you. The
two of you often drive to Palm Springs
together, just for the day (too rough on
me!), golf, have lunch, golf and home
again. You both love the sun, too, bask
and bathe in it.
You’re as normal as it’s possible for any
man — let alone an actor — to be. The only
quirk you have is in preserving your good
health. Considering the fact that you’re
six feet tall, weigh 160 pounds, have chest
and arm muscles like oak and legs of steel
cable, this can be amusing. To you, how-
ever, it is earnest, it is real. You don’t
drink very much — a cocktail before dinner
and, when you’re working, not that. You
have remarkable self-discipline anyway.
If you decide a certain food is wrong
for you, you’d have to be caving in with
hunger before you’d touch it.
You have really marvellous hands. And
X-ray eyes. You can see through things.
You always wanted to be a doctor and to
this day will drop anything you’re doing
to watch a difficult job of surgery. You’ve
watched so many, I’ve no doubt you could
do one yourself.
You have a profound respect for skill
and talent in any field. One of your closest
friends is Leo Durocher. Remember you
and Leo toured Army camps in the South.
Leo told baseball stories, you performed.
Then the two of you finished up by doing
an old-time vaudeville act in straw hats
and blazers. You listen now, eyes popping,
to Leo telling baseball stories. When his
Giants won the series last fall (you went
East, of course, to watch the games with
Leo) not even Dusty Rhodes and Willie
Mays acted happier than you!
There is something of the hero-worship-
per in you and hero-worshippers always
suffer in their own esteem, I’ve found, by
comparison with their heroes.
For this, and for the other reasons I’ve
given, it was difficult for you, literally
The Kid from Brooklyn, to believe in your
own Star. Now at last, thanks to the love
of the fans who are your friends, you do
humbly believe. . . .
“With success, some people swell,” it’s
been said, “others grow.”
You grow. And never so noticeably as
in this past year. So many exciting and
important things happened to you: In
“White Christmas,” you achieve new
stature as a singer, as a great dancer and,
as you charm and gag your way through
ten stunning reels, as an all-round show-
man. A new adventure in showmanship,
too, for you to co-star with that other great
singing showman, Bing!
Prior to “White Christmas,” you became
an independent producer for the first time
with “Knock on Wood,” which you made,
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Productions. A new adventure, too, in
courage . . .
Last winter you conducted the Phila-
delphia Symphony Orchestra which started
as a gimmick but, because you are a true
musician, with a nose — an ear for music, it
ended as a “tour de force.” This was not
something you learned but something you
do naturally. You are the envy of con-
ductors because you have a naturally
strong beat. The bottom of the beat is
strong. (Your reading of “The Nutcracker
Suite” is the finest and funniest anyone’s
heard!) You’re mad for music, anyway,
and when Conductor Eugene Ormandy
asked you to go on tour with his orchestra,
that was temptation!
“To have one hundred musicians play
music,” you said, starry-eyed, “the way
you want to hear it!”
Also in Philadelphia last year you made
an unprepared speech on juvenile delin-
quency which was later reprinted, in full,
in one of Philadelphia’s leading papers.
Now that you have confidence in your-
self, without the cap and bells, you are
a very effective speaker.
Last summer you started on a tour
around the world. You were gone for
more than three months. It was miserable
for me to have you gone so long, but your
horizons, I consoled myself, were widen-
ing .. .
You started the tour in England where
you attended the charity premiere of
“Knock on Wood.” Then you traveled to
South Africa where you played theatre
dates in Capetown, Johannesburg, Durban
and Rhodesia. After the South African
engagements (which touched off the wild-
est demonstrations in the memory of police
officials) you began your tour for the
United Nations in India where you were
met and welcomed by Prime Minister
Nehru and Madame Pandit.
....
For this trip, which was made under |0
auspices of the United Nations Inter]
tional Children’s Emergency Fund, j
were officially appointed Ambassador
Large for the United Nations with full d
lomatic status. The purpose of the trip \
to make color film showing the activities
UNICEF medical and nutritional center;
India, Bangkok, Thailand, Indonesia, ps
of China and Japan. Since it’s incepti
UNICEF has been instrumental in curb
such horrible tropical diseases as Ya
which killed one million children each y
in the Middle East. UNICEF also provi
milk and warm lunches for children
many of the more unfortunate countr
Your picture will tell all about this. I
care about this. About children. About
ill and the poor. Especially about poor < ■
underprivileged children.
One of the signs of growth is when
reach out for new experiences. You
reaching out, and up . . .
The final stop on your tour was Hoi
lulu where Dena and I met you and
flew home, the three of us together.
As of now, you’ve started work in <
new Paramount picture, “The Court Je
er,” (which is the eleventh picture you
made in the eleven years we’ve lived
Hollywood) and it is a role that sho
fit you like the clothes you wear so w
For there is in you something of the peri
nial Court Jester who will never quite 1
lieve that, without his cap and bells, he 1: ;
a place at Court.
In you, too, is something of the stroll
troubadour so that you will alw;
feel a transient, a “temporary resident,"
you put it (even now) in Hollywood
anywhere. But we hear no more about “
bubble bursting,” nor any ominous ref
ence to our immediate world and yi :
particular star “passing away.” And
sincerely doubt that we ever shall agair
The End
I'm in Love with a Wonderful Guy
( Continued from page 54)
True, the honeymoon was over. But in
a way it had seemed like a hurried, incom-
plete dream. At first, we were supposed
to have been married on a Tuesday. Then
we received word that we could be married
on Monday. We were told to rush to the
Mexican border town.
Guy’s business manager, Charles Tre-
zona, accompanied us, and his friend, Louis
Mijares, who had made the arrangements,
joined us in Juarez. It was only when we
arrived that we found we had a problem.
Everyone seemed far more in favor of
lunch than matrimony.
The gentleman issuing marital permits
was on his way out. “I’m sorry,” he said.
“But if I don’t eat now, I may not have
another chance. My replacement will be
along in ten or fifteen minutes.”
We sat down to wait an eternity.
We reached the courthouse at last, only
to discover that the judge had also gone
to lunch. “Sounds like a good idea,” said
Guy, because apparently we had no choice.
“Let’s find a restaurant.”
After two untouched desserts, we re-
turned to the courthouse and filled out
some more papers. Guy nudged me. Louis
had disappeared. However, in a few min-
utes he was back with a stranger. “This,”
he announced triumphantly, “is the
judge.”
The ceremony was such a brief one, we
were slightly uncertain as to whether or
not there had actually been one. And,
to our surprise, the judge himself placed
the ring on my finger.
So afterwards, we stood outside. “Hel-
lo, Mrs. Madison,” my husband was saying
to his dazed wife. Then he did someth
I’ll never forget. He took the ring fr
my finger, studied it for a moment,
though he were silently repeating
marriage vows again, and then put
ring back on my finger. He tucked
hand under my chin and looked strai
into my eyes. “Now you’re married
me,” he said. “You’re really Mrs. Ma
son.”
And I really am. The dream is cc
plete. It grows more wonderful each c
My dream is one that I believe ev
girl hopes will come true — that of shar
a lifetime with the man she loves,
lifetime in which there are no unc
tainties, in which doubts get lost, one I
one. I’ve learned that this is someth
you have to work for, build on, grow w
The foundation is composed of many qu
ities, honesty, kindness, thoughtfuln i
understanding — to name a few. All g
know the importance of these qualit
And I hope that all of them, like me,
fortunate enough to find a man who p
sesses them.
But there are the inevitable uncerta
ties in every meeting and courtship. Wit
you first set eyes upon the fellow ;
think may be the man, you wonder, I
he like me?” Later, it becomes, “Will
love me?”
You find yourself wanting to be a i
to talk of the things he knows best,
talk about them expertly. And if they
new to you, you’ll wonder if he thi.
your interest is sincere. You want 5
enjoy the activities he enjoys. And wl
he tells you about the things he belie
in, you want to believe in them, too.
mt to be the kind of person he wants
u to be, and yet, you know that in all
spects you have to be yourself, honest-
yourself, or you’ll only be creating a
rson who can’t last as long as the for-
er you’d like to spend with him. If you
sagree, if you sometimes flounder, if
u aren’t perfection, will he walk away?
Guy, I found, knows the meaning of
i derstanding — patient understanding. He
s a theory that stems from his early
wildering days in Hollywood when his
tial success came before he was pre-
red for it, bringing him fame and a
ding of uneasiness. “If people like you
d really want to know you and be your
ends, they’ll stick around and figure you
t,” he says. “They’ll stay to under-
ind you.”
With him, it’s the same. If a first im-
ession is good, that’s fine. If it isn’t so
od, it’s by no means final, as far as
ly is concerned. He studies people, gets
( know them. And, as it turned out, he
ew me better than I knew myself.
I hadn’t intended to fall in love. I’d
iced my dream of husband, home and
nily in the future. I’d come to Holly-
bod to be a movie star. I’d had some
(od tv roles and a lead in a Western,
studied dramatics, went to press events,
sed for publicity pictures. I wasn’t any
rnhardt, but I figured there was hope,
itil, one night, something happened. To
t' heart.
i. must confess, to me, a crowded room
d always been a crowded room. More
en than not, slightly stuffy. Then, upon
s particular night, I looked across a
in-packed auditorium and saw Guy.
Vly first thought was, “How handsome he
’ When I glanced his way again, he
s gone.
; The Sportsman’s Show was in progress
ithe Pan Pacific Auditorium. I’d gone
ng with my roommate who works for
publicity firm that handled the show,
(ter we’d seen the exhibits on the main
or, I was asked to make an appearance
a cocktail party upstairs and I agreed.
I file I was at the party, someone in-
ired if I would pose with Guy in one of
boats and I said I would.
1 remember, later when I saw him again,
r second thought was, “How nice he is.”
seemed a trifle shy, but there was
iet strength in his shyness. “Might he
:e me home?” he asked. “Why, yes,” I
plied.
Vhen we reached the door of my apart-
nt, he asked if he could call me some-
;ie. Neither of us had a pencil and I
's sure that he would never remember
telephone number.
jater, when I was in bed, the phone
lg. It was Guy. “See,” he said. “I re-
!mbered.” We talked for a long while,
3 when he hung up, I found myself
ping he would call again. Nothing Seri-
3, of course. That wouldn’t make sense.
:er all, we’d just met.
le didn’t call. Later, much later, 1
S'rned that he was away on a hunting
§>■ To me, it was the lengthiest hunt-
jj-,' trip on record. When he returned, I
®»rd from him once more. But there
vs still no mention of a date. Not that
it actually mattered — much. However,
ven my ex-roommate whispered, “Why
n ask him to dinner?” suddenly I be-
16 1 thinking that this was the most won-
p,ful idea ever thought of.
luy seemed to like it, too. “I’ll bring
it) meat,” he told me.
Fine,” said I, never guessing what was
ii store.
I ’he following day he arrived with a
kge leg of lamb. To me, it looked like
j® 'hole lamb. He also had with him about
(tu dozen roses. I knew what to do with
;tl flowers and got out a vase. But the
Pib had me baffled.
When Guy left, I called my roommate’s
mother and asked for some badly needed
instructions. Then I went to work. And
how I worked!
At dinnertime, Guy returned. “How’re
things going?” he wanted to know.
“I seem to learn something every day,”
I said, because I felt I had to prepare him
for the results of my afternoon in the
kitchen.
“Like what?” he began to grin.
“Like how to roast a leg of lamb,” I con-
fessed feebly.
Guy carved the meat and served it. It
seemed like a year went by till he tasted
it. I waited. Then Guy said, “It’s differ-
ent,” took a few more bites and added, “it
certainly is.”
And it was. My instructions had in-
cluded cloves. I didn’t know my room-
mate’s mother had meant garlic cloves. I’d
simply added spice and roasted away — and
lived to wish that I’d also put my head in
the oven! But when I looked up from my
plate, I saw that Guy was laughing. “You
need a lot of training,” he said. “But
you’ll learn.”
So I couldn’t cook a leg of lamb. So
what? Guy thought I could learn! And
life was beautiful again. Since then, I’ve
learned so many things from Guy — -and
so many things about him. I’m told that
he has greatly matured since he first came
to Hollywood. But, as for other changes,
I remember what he once told me. “It
would be so easy to change and not even
realize it here,” he said. “To lose what you
started out with and to forget what you
meant to be. That’s not for me.”
I knew then that if success ever in-
terfered with his ideals, here was a man
who would simply pack up and leave his
success behind him. Correction, please,
we would pack up and leave.
I learned that his career is a job to
him. One that he wants to do well. But
there are other considerations. Guy be-
lieves that actors and actresses can give
something to people through pictures.
“And if God has given you the ability
and the chance, you should enlarge upon
it, develop it,” he says. And he works
at his job accordingly.
We talked so much after that first din-
ner, about movies, about our early lives,
our families, about little things we had
in common.
I told Guy about my life in Ireland. Al-
though I was born in New York, our fam-
ily returned to Ireland when I was a year
old to live on our farm. My mother died
just before the war. During the war, my
father, who had been in the racing busi-
ness, turned to carpentry. Everyone had
to give away his horses at that time. We
couldn’t afford to keep them or feed them.
We all worked on the farm, my sisters,
Patty, Maureen, Dolores and Joan, bro-
ther Timmy and I. There was work to be
done and we sold our extra crops.
After the war, we climbed aboard the
first New York-bound boat that came
along. My brother and I didn’t want to
leave and, before our departure, we de-
cided to run away. We ran into the town
of Cork. My father alerted the police and
there was a frantic search. They found us
in the nick of time.
“I’m glad they found you,” said Guy.
And I had never been so glad.
I learned that Guy, too, had once been
uprooted from his home and had come to
know the feeling of loss and insecurity.
He was eight at the time. One day he
came home from school and heard his
mother talking to someone in the living
room. The man was a doctor. “The report
from the last examination shows that your
son is decidedly underweight,” he was
saying.
“But he eats well,” said his mother.
“Plenty of meat and vegetables. He drinks
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a lot of milk, perhaps not as much as the
others.”
Guy stood in the hallway and listened
as the man went on. “I’d recommend a
year of controlled diet,” he said. “There’s
a place in the hills, we call it a preven-
torium. It might do him a world of good.”
“If it’s a matter of my son’s health, he’ll
go, of course,” his mother said quietly.
It was Guy’s first time away from his
family. At first, he didn’t understand. All
he knew was that his security had been
taken away from him and he was alone.
During the next few weeks, he cried him-
self to sleep each night. But, after a
while, he realized that it was for the best.
He learned the value of good health and
an outdoor life. And when he returned
home, he continued to build his health.
He’d been taught to swim at the pre-
ventorium and had come to love the water.
And, once home, he began camping out,
going hunting. Sometimes he’d take his
brothers along. Like me, he comes from
a large family, three brothers and a sister.
Although Guy wasn’t the oldest, he kept
the others in tow. For one thing, he told
me, he didn’t let them smoke. Once he
caught his brother Wayne smoking at a
football game and turned him over his
knee and spanked him.
Spending money was sometimes scarce
for the Moseleys. When Guy was thir-
teen, he worked in the orchards near
Bakersfield for seventy-five cents a day
to buy school clothes and hunting equip-
ment. At nineteen, he became a telephone
lineman and was saving his money to buy
a boat and become a deep-sea fisherman.
This was the Guy who went into the
Navy and soon afterwards was discovered
by Hollywood. “I was pretty well stunned
by the thought of an acting career,” he
told me. “And as for the social life, I was
really confused.
“Where I came from, if you met a girl
at a party and liked her, you could just
call her up the next week and ask her to
go to the movies or something. But here,
I couldn’t do that. I found that the girls
just thought you wanted to be seen with
them to get your name in the papers or
else they wanted to be taken to expensive
clubs to get their names in the papers,” he
grinned.
I began hoping that he knew he could
call and ask me to go to a movie just any
old time. But still there was no mention
of a date. Although he and Gail had been
separated for a long time and had both
agreed that a divorce was best, final ar-
rangements had not been made. When the
divorce was scheduled, Gail didn’t feel up
to going through with it and asked Guy
to cross file to obtain it. And, typically
Guy, he thought it was best not to be-
come involved with one person until the
other matters had been settled. When I
found this out, I loved him even more.
Our first real date was like my very first
date. I had the strangest feeling. I
opened the door and there stood Guy. It
was the first time I’d seen him in a dark
suit and tie. And again, he’d brought
flowers.
We drove to the Holiday House at
Malibu for dinner. After that night, we
began dating steadily. We’d go to the
beach and sometimes we’d fish. I’d fished
before, but I’d never caught anything until
a halibut came along one afternoon. I
nearly fell out of the boat pulling it in
and was so excited that my Irish accent
came back. “Will it be splashing about
in the boat?” I asked him.
“It undoubtedly will,” he laughed.
And now, wherever we go fishing, he
mimics me. “They’re at it,” he’ll say when
he feels a tug at his line. “Sure’n’ they’ll
be splashin’ about soon!”
Another afternoon, Guy took me for a
drive to a hilltop on Outpost Road — a place
where you can look down and see all c
Hollywood. “This is where I’m going t ]
build my home,” he said. He seemed to b
watching closely for my reaction. “Whs
do you think of it?” he asked.
You’re in heaven and someone asks you
opinion of it and what do you say? Ju;
that!
Our house will be in a rambling ranc
style — Early American. There’ll be
large living room, a dining room and
gigantic kitchen. The latter is especiall
for my benefit. “You’re in charge of tht
department,” Guy told me. “And I’v
heard that the Irish like to keep every
thing in the kitchen.”
We’ll have a glassed-in breakfast roon
so that we can breakfast with a view, an
two bedrooms. And there’s space for ad
ditional rooms as our family increase
We think about four or five additions wi
do nicely and we’re wanting a family sooi
“I’ll bet the first thing down on pape
for the house was a gun rack for the lrv
ing room,” Lita Calhoun guessed one da;
“And I’ll bet you’re right,” I told he
Furthermore, she was.
Rory and Lita are two of Guy’s be:
friends. It seems foolish now, but I thin
I lost five pounds when I first met ther
“Will they like me?” I kept wonderin
But they were so nice it was as if I
known them all my life.
We were having dinner at their hou;
one evening when I found a surprise :
store. I’d told Guy about a dog I’d hs
when I was a child. I’d just mentioned
in passing. Before we sat down to eat,
glimpsed a little black poodle runnir
around. “Like him?” asked Lita.
“How could I help it?” said I.
“He’s yours,” said Lita. ,
“Mine?” T
“A gift from Guy,” she replied. Si
I looked around for Guy, but he h;
disappeared. He was embarrassed!
Our first dinner with the Calhouns al; 1
proved to be my first encounter with !«•
bow and arrow. Rory has a target in
backyard tree. After the meal, we we
outside for some practice. I’m not certa
how I did it, the luck of the Irish, I thin 1
but I managed to hit the target every tirr
“Good girl,” said Guy and I felt as y
somebody had handed me a million dollai
We were driving to the beach one ev
ning and I noticed that Guy was u;
usually silent. I thought it was simp
because he was tired and I didn’t s
much either. Finally he said somethir ,
“Do you think you could put up with r
for the rest of your life?” he asked.
It had been smoggy along the bea
road but suddenly the stars seemed
come out. “I think so,” I told him quiet
When Guy’s divorce was granted, 1
decided not to wait to be married. G
was scheduled for a location trip a
afterward he planned a hunting expec
tion. And after that, there was anotk
location trip to be made. “Doesn’t se<
as if we’ll be seeing much of each othe
he told me.
“No,” I said, “it doesn’t.”
And, as the saying goes, so we were w<
The other day I was talking to a friend
his, his press agent, who was with us 1
night we met. “Know what Guy said 1
next day after you two met?” he ask
me. “He said he thought that you wc
the girl he’d like to marry someday
you’d have him.”
As for the career, mine, it’s all over,
believe Guy knew it would be.
Mr. M. is of the opinion that one car*
in the family will do nicely, and wh-
he walks through that doorway calli
“Hey, Mrs. Madison,” you can bet I’ll '
there. Under the circumstances, what
in her right mind would want to !
Bernhardt?
The End
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Hi, Debbie, I'm Talking about You
( Continued from page 36)
generally, like whom she went to a party
with or to the movies the week before. I
couldn’t tell you who Debbie kissed in
high school, if she kissed anyone at all, or
if she’ll get married next month. Some
things, she feels, concern only herself and
when there is something to be told, she
does it at the proper time and in the
proper way.
Debbie changed in one respect though.
Her taste in men is different. In school,
nothing else mattered except that the guy
be a good athlete. Little impressed was
she by anything else. If he was a really
keen fellow and not good at any sports,
you could bet your life that before long
he’d either joined her baseball team or
learned to skate.
Today, Debbie pays more attention to a
person’s sincerity, straightforwardness, to
his philosophy of life and his personality
than to his physical prowess. Although I’ll
venture to say that if Eddie doesn’t share
now some of the sports Debbie’s interested
in, he will!
There’s little doubt in my mind that
Debbie will make a wonderful wife. She’s
intelligent, easy to get along with, always
tries to please and, what’s more, she’s al-
ways enthusiastic — even about keeping
house, cooking, shopping and other domes-
tic chores.
When we were Girl Scouts, Debbie was
the one who always wanted to cook. With
sticks or by rubbing two stones together,
she’d start a fire in half the time I could
and whip up a concoction of canned foods
that was all her own. In fact, even today,
Debbie gets a charge out of planning the
food for a party — toasted cheeseburgers
with barbecue sauce a la Reynolds to Mex-
ican tacos dinners served at the pool.
I really don’t see any reason why Debbie
won’t be able to continue her career when
she and Eddie marry and at the same time
run a household and share Eddie’s interest
too. I know that Debbie’s aware that she
and Eddie face the problem of commuting
between here and New York, of adjusting
to a new kind of life. So far they haven’t
made any specific plans on how to solve
these problems. “We’ll work them out as
they come up,” she told me. And I’m sure
she is perfectly capable of doing so. She
has an almost unbelievable capacity for
work, for getting things done.
However, Eddie will have to put up with
the “unexpected” because in this respect,
Debbie hasn’t changed a bit.
I’ll never forget my scare the morning
after her last Halloween party. I couldn’t
make it because I was at school at Red-
lands at the time, so I told Debbie I’d come
over the next morning. It was about nine
when I rang the bell. “Come in,” Deb-
bie yelled from somewhere within the
house. “The door’s unlocked.”
I opened it, took one step across the
threshold and froze in my tracks. Staring
at me from a corner of the living room
was an eight-foot gorilla. I let out one
shriek, turned around and made my way
out the door. Debbie came running down
and one glance told her what had hap-
pened. “Oh, you’ve met Oliver,” she said.
“He’s just stuffed.” It seems Oliver came
from the studio to decorate the Reynolds’
place for the party.
But her real coup d’etat came thirty
seconds later when I went to push a book
aside that was on the sofa so I could sit
down. “Don’t touch . . Debbie began to
say, but it was too late. I was up in the
air — electrocuted. Just one more of Deb-
bie’s party surprises; ’tis certainly true,
life with Debbie will never be dull.
But for all of you who think that Deb-
bie Reynolds is synonymous with vi
ciousness and fun there’s another side
Debbie — a more serious side. Until a si
while ago, I don’t think even Debbie h
self was conscious of it, though si
pointed at it all along.
I remember, for instance, one aftern
when the two of us dressed up in our (
Scout uniforms and went to Birmingl
Veterans Hospital. We were sixteen at
time and our arms were loaded dc
with Christmas gifts collected by
troop.
It wasn’t the first time Debbie had vi
ed a ward, and she began immediai
to walk from bed to bed, chatting g
with the wounded men. Laughing
kidding them, she seemed to be ha\
the time of her life. Yet, when we
the hospital, Debbie suddenly bec£
quiet and serious. “I wish I could
something for those fellows, besides
liver presents.”
Not till years later did either of
realize how much Debbie was doing s
ply by being herself, by making otl
laugh, by taking their minds off tl
problems.
This is one of the reasons Debbie i:
bent on her career and works hardei
it than anyone I know. It’s not a d
for attention. As long as I’ve known
she has had all the attention she war
without any effort on her part. Nor i
money, although, of course, she en;
its benefits. Subconsciously, almost
was the understanding of the value of
tertainment, the interest, happiness
relaxation it could bring to others, j
although Debbie has never mentioned
in just so many words, I know this is
way she feels.
Debbie’s the kind of girl who alv
must have an aim. She picked her par
ular field because she considers en
tainment a therapy to millions of pe
all over the world. Signs of it she fo
again and again.
One night — years after the Birmingl
incident — Debbie came back from
Travis Air Force Base near San Franc:
where she had visited wounded veter
She was very quiet and by the serious
of her expression I knew that sometl
had moved her deeply. It wasn’t i
the next morning that she told me al
it.
Among the patients she saw was a
ored boy, who hadn’t moved or ta
since he was carried off the battle
shellshocked and completely helpless,
when Bill Warfield, one of the actor
Debbie’s group, sang “Old Man Rh
the boy’s right foot slowly started to
up the rhythm. Then the left one jo
in, and his movements seemed to work
into a slight, hardly discernible tap. Deb-
bie could see the music move through his
body, his eyes brighten, life return to his
face. The day after she returned, Debbie
bought a dozen Billy Daniels records
(which she promptly sent to the boy.
Such incidents have always made an
impression on Debbie. She is very sensi-
tive to other people’s problems, although
(this is not always apparent under her
constant laughter, bantering and joking.
It’s easy to go to Debbie with your
problems, as I have found out many times.
Yet she herself will seldom share hers be-
cause she feels she doesn’t want to burden
[anyone else. If she has a problem, she
solves it herself.
Not long ago I was visiting at her home.
That evening Debbie came back from the
studio a little later than usual. Obviously,
(something was bothering her because she
was unusually quiet when she came in and
stopped just long enough to say hello to
her mother and me and to excuse herself.
She went straight to her room and stayed
there by herself for almost half an hour.
(When she joined us again, she was her
usual, cheerful self. We never found out
what had bothered her.
It’s amazing how well Debbie can con-
trol her emotions. Even when she’s ir-
ritated, which doesn’t happen often, only
(those close to her can tell — usually by the
quickness with which she replies to ques-
tions or by a slight lack of patience. In
which case, it’s best to leave her alone.
Since I first met Debbie, I’ve only seen
her cry once, and it was hardly an oc-
casion for tears — at least on her part.
Last summer, Debbie and I went to New
York together for five days, during which
(time we saw as much as we could jam into
each day. On the third afternoon we went
to Coney Island to try out every ride in
the amusement park, including the turning
barrels. I had a little trouble getting
into the barrel, but after being whirled
around for five minutes, I was so dizzy I
couldn’t get out. Finally, two attendants
had to be summoned and they came and
physically carried me out. Debbie laughed
so hard, she was crying!
I think one of the signs of a true friend
is if you can count on her when you need
her without having to depend upon seeing
her all the time.
• In high school, Debbie and I were always
together. But shortly after she went into
the movies, I moved to Redlands for four
years to study for my teaching degree.
[Till I graduated last May, I saw Debbie
only during the holidays and vacation, yet
we stayed as close as ever.
Whenever we got together, we’d just
pick up where we left off. Our friendship
doesn’t have to rely upon small talk ox-
people we used to know. A few weeks
ago, Debbie visited us at my parents’ sum-
mer home in Balboa and for twenty-four
hours we never left the house. We spent
our time talking, reading, watching tele-
vision and just sitting in the upstairs den
looking out through the big glass windows
onto the beach and ocean below.
I must admit part of the talk was about
the past. Like the time when we were
still in school and Debbie’s enthusiasm got
alarmingly noisy during a New Year’s Eve
“slumber party” at her house.. A few
seconds before midnight, Debbie decided
on a most appropriate way for us girls to
welcome in the New Year. With over-
coats hastily thrown over our pajamas
and loaded down with pots and pans we
headed for the nearby intersection with
Debbie leading us. For over an hour we
made the biggest racket heard anywhere
and stopped traffic for blocks away, wak-
ening the entire neighborhood. One thing
about Debbie, you can always tell when
she’s within a block of you. Although
with maturity, she’s shown signs of set-
tling down.
In order to be fair to Debbie, I have to
admit that she can have a very quieting,
relaxing influence on those around her.
This stems from her self-assurance. When
we made our trip to New York last June
we decided to make it by plane. Since it
was my first flight, the moment we stepped
into the giant DC-7, I became jittery and
nervous. Debbie sensed this immediately
and instead of trying to talk me out of it,
which would only have increased my
anxiety, she gradually changed the topic of
conversation. Before I knew it, we were
20,000 feet above the ground and I felt
wonderful. Debbie, sensing this, immedi-
ately fell off to sleep.
It’s true that somehow Debbie always
knows what to do. Recently, when we
were driving to Beverly Hills for a game of
tennis, we came to an intersection at Bev-
erly Glen and Sunset Boulevard. The
driver ahead of us suddenly made a right
turn and I had to slam on my brakes in
order to avoid running into him. Unfor-
tunately, the man behind us wasn’t alert
enough to stop his car and he plowed right
into mine.
No one got hurt, but I was just rattled
enough to be unable to know what to do.
Without getting excited, Debbie stepped
out of the car, headed for the nearest
phone and called the police. It was a
good thing the officers arrived a few min-
utes later, not only to disentangle the
traffic congestion we had created, but to
establish the responsibility for the acci-
dent, because the man who smashed into
me had left the scene of the accident.
Debbie knew what to do not only be-
cause she had kept calm throughout, but
also because of a lesson she had learned
when she first started to drive.
She was sixteen when we were heading
down Moorpark Boulevard in her ’32
Chevy, the first car she ever owned.
Somewhere near Coldwater Canyon,
without warning, a woman driver ahead
of her stopped in the middle of the road.
Instantly Debbie brought her Chevy to a
screeching halt. Again, not so with the
man behind her. He crashed head on into
the trunk of her car.
Thanks to the heavy rear guards Debbie
had installed a few days before, her car
wasn’t damaged. But the grill of the other
car looked like the twisted face of a prize
fighter minus front teeth, and the man be-
hind the wheel was just as mad. He
started shouting and yelling at us.
Debbie felt sorry for him, but at six-
teen she was too young to control her
feelings when she saw the humor of the
situation. She just couldn’t keep a
straight face.
The madder he got, the funnier it seemed
to her. To make matters worse, the crowd
that quickly assembled made quips about
the big fellow who would berate a help-
less little girl.
Not satisfied with getting her name, li-
cense number and general description of
the car, the man angrily stalked off in
search of the law. He was lucky in find-
ing a police car quickly. But he was not
as lucky when the officer informed him
that it was his responsibility to keep a
safe distance to prevent hitting any car
that might suddenly be forced to stop. It
taught him a lesson and Debbie and me as
well: Police officers aren’t around simply
to give people tickets. They can be
mighty helpful, too.
As you probably guessed, I could go on
forever talking about Debbie. It’s easy.
But one thing’s for sure. I’d always end
the same way. Like Eddie, I, too think
“Debbie’s the greatest.”
The End
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BRIEF REV
For fuller reviews, see Photoplay for months in-
dicated. For this month’s full reviews, see page 20.
kVW" EXCELLENT VkV VERY COOD V'V' GOOD
A — ADULTS F — FAMILY
X
pzVVp^ AIDA — I.F.E., Ferraniaeolor: Satisfying
version of Verdi’s opera about the love of a captive
Ethiopian princess and an Egyptian general. Hand-
some players do the acting; voices of opera stars
are neatly dubbed in. (F) November
pVV ATHENA— M-G-M, Eastman Color: Bright,
fresh musical. Edmund Purdom loves Jane Powell
in spite of her eccentric family, including Debbie
Reynolds, who loves Vic Damone. (F) February
pVk'' BEACHCOMBER, THE— Rank, U.A.; Tech-
nicolor: Missionary Glynis Johns tries to reform
drunkard Robert Newton in an amusing comedy-
melodrama. Gorgeous island locale. (F) January
p'p' BENGAL BRIGADE— U-I, Technicolor: As a
dashing British officer. Rock Hudson opposes a re-
bellion in India of the last century, is loved by
aristocrat Arlene Dahl and by a native (Ursula
Thiess). Oriental-style Western. (F) December
p/p/' BLACK KNIGHT, THE— Columbia, Techni-
color: Alan Ladd plays mysterious avenger, saving
King Arthur’s realm and winning Patricia Medina.
Filmed in England, Spain. (F) January
pVp'" BLACK WIDOW — 20th; CinemaScope, De
Luxe Color: Glittery whodunit about New York
cafe society. Van Heflin, Ginger Rogers are in-
volved in a young girl’s murder. (A) January
PV^V CARMEN JONES — 20th; CinemaScope,
De Luxe Color: Brilliant, unusual musical, set in
America’s South. Dorothy Dandridge, as the temp-
tress. and Harry Belafonte, as the soldier she ruins,
head an all-Negro cast. (A) January
Vp^ CATTLE QUEEN OF MONTANA— RKO,
Technicolor: Barbara Stanwyck defends her prop-
erty against a ruthless rancher in an actionful
Western. With Ronald Reagan. (F) February
Vp^V COUNTRY GIRL, THE— Paramount:
Strong theme, intelligent acting. Bing Crosby
fights alcoholism to try a stage comeback, aided by
wife Grace Kelly and Bill Holden. (A) January
V'V'V'V CREST OF THE WAVE— M-G-M: A story
of American and British Navy men working to-
gether on dangerous torpedo experiments rouses
laughs, tension. With Gene Kelly. (F) January
VleV DEEP IN MY HEART— M-G-M, Eastman
Color: Jose Ferrer as composer Sigmund Romberg
in a rich, all-star musical biography. Doe Avedon
is his wife; Merle Oberon, his collaborator; Helen
Traubel, a friend. (F) February
P P'VpV DESIREE — 20th; CinemaScope, De Luxe
Color: As Napoleon, Marlon Brando dominates a
lavish historical romance. Jean Simmons charms
112
as a woman who drifts in and out of his life, finally
weds general Michael Rennie. (F) February
WV DESTRY — U-I, Technicolor: Brisk, humor-
ous horse opera. Peaceable Audie Murphy cleans
up a corrupt frontier town. Lori Nelson’s a nice
girl; Mari Blanchard, a siren. (F) February
pV" DETECTIVE, THE — Columbia: As a priest
turned sleuth, Alec Guinness trails thief Peter
Finch in a quaint English movie. (F) November
p'p'V' DRUM BEAT — Warners; CinemaScope,
WarnerColor: Lively Indian-fighting yarn. Alan
Ladd’s a peace commissioner subduing rebel war-
riors, wooing Audrey Dalton. (F) January
VW FIRE OVER AFRICA— Columbia, Techni-
color: Colorful backgrounds, filmed on location,
highlight a wildly melodramatic yarn of smugglers
in North Africa. Agent Maureen O’Hara tangles
with a shady American adventurer (Macdonald
Carey). (F) December
VpV FOUR GUNS TO THE BORDER— U-I,
Technicolor: Rory Calhoun plots a bank robbery,
woos Colleen Miller and fights Indians in a vigor-
ous Western. With George Nader. (F) December
p'V'p' GATE OF HELL — Harrison-Davidson. East-
man Color: Beautiful Japanese film (titles in
English) about a medieval warrior infatuated
with a happily married noblewoman. (A) February
p'pvp' GREEN FIRE— M-G-M; CinemaScope,
Eastman Color: Robust, good-natured adventure
movie, about a search for emeralds in Colombia.
Stewart Granger, Paul Douglas are bickering part-
ners; Grace Kelly, a proud heroine. (F) February
p/p/p/ LAST TIME I SAW PARIS, THE— M-G-M,
Technicolor: Deeply affecting love story. Van
Johnson and Elizabeth Taylor, rootless Americans,
meet and marry in postwar Paris. Donna Reed
plays Liz’s jealous sister. (A) February
VVp^ PHFFFT — Columbia: Judy Holliday and
Jack Lemmon expertly portray a divorced pair who
grimly try to lead gay single lives. Slight but
smoothly done farce. (A) January
VVV PURPLE PLAIN, THE— Rank, U.A.; Tech-
nicolor: Action, gentle romance, vivid war scenes
combine in a story set in Burma, but shot in
Ceylon. Gregory Peck, neurotic RAF flyer, finds
healing in a Burmese girl’s love. (F) February
Vp'VV ROMEO AND JULIET — U.A.: Beautiful,
absorbing English version of Shakespeare's play,
shot in Italy. Youthful Susan Shentall, Laurence
Harvey are lovers parted by a feud. (F) January
PV SHIELD FOR MURDER— U. A.: As a ruthl
police detective, Edmond O’Brien tries to get aw
with robbery and murder, deceiving fiancee Ma
English and pal John Agar. (F) Noveml
VW SIGN OF THE PAGAN— U-I; Cineu
Scope, Technicolor: Spectacle, intrigue and v
in the fifth century. As Attila the Hun, Ja
Palance plots to attack the Roman Empire; «
cer Jeff Chandler, to defend it. (F) Febru:
WV SO THIS IS PARIS— U-I, Technicoh
Cheerful, youthful tune-film. Tony Curtis, Ge
Nelson, Paul Gilbert are sailors seeking romai
on shore leave. Gloria DeHaven gets them inti
plan to help French war orphans. (F) Februi
V'V'V'V' STAR IS BORN, A— Warners; Cinei
Scope, Technicolor: Judy Garland and James 1
son are excellent as a rising film star and her al
holic husband. Dazzling music-drama. (F) Janu;
P'V STEEL CAGE, THE— U.A.: Off-beat pri,
picture. As Warden Duffy of San Quentin, P
Kelly presents three stories about convicts — ci
edy, suspense and then irony. (F) Novem
P'V THREE RING CIRCUS— Wallis, Paramou
VistaVision. Technicolor: Martin and Lewis ere
a fair number of laughs in a vaguely plotted tale
the big top. (F) Janu
P'V TONIGHTS THE NIGHT— A. A., Teel
color: British-made comedy, set in Ireland,
lagers, including Barry Fitzgerald, plot to 1
David Niven, a rascally squire. (F) Febru
/V TRACK OF THE CAT— Warners; Cine
Scope, WarnerColor: Uneven, occasionally in
esting. Bob Mitchum’s the bully of an unha
ranch family. With Tab Hunter. (F) Janu
P'V TWIST OF FATE— U.A.: Filmed on the 1
iera, a confusing story of intrigue casts Gin
Rogers as a lady of leisure whose protector i
crook. With Jacques Bergerac. (A) Janu
pW UNCHAINED — Warners: Earnest, mo\
close-up of an honor prison designed to rehabili
inmates. Chester Morris is the warden; El
Hirsch, a rebellious convict. (F) Janu
VW VIOLENT MEN, THE— Columbia ; Cine
Scope, Technicolor: Grim range-war tale. Edw
G. Robinson’s a cattle baron; Barbara Stanvr
his faithless wife; Dianne Foster, their daugh
Glenn Ford, a rancher. (F) Febri
P'V WEST OF ZANZIBAR— Rank, U-I; Tec
color: British thriller with picturesque East /
can locales. Anthony Steel breaks up a dangei
ivory-smuggling gang. (F) Febri
1
B R
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“I may not ever tell you this in so many
words (we parents are die-hards, you
know), but in my heart I’m asking you
to forgive me for doubting your ma-
turity, your wisdom, your discrimination.
“Too often when you’ve brought me
some new discovery of yours with en-
thusiasm and eagerness, I’m afraid I’ve
treated you like a child. By leaning so
heavily on 'mother knows best,’ I’ve
failed to realize there may be times when
daughter knows best.
“I haven’t been sympathetic about
your interest in Tampax. As a matter of
fact, I wouldn’t even listen to you. And
of course, it would take an outsider to set
me straight . . . our next-door neighbor.
“I happened to be over there when
Mary’s daughter came in and asked if
she could borrow some of ’mother’s
Tampax.’ That was a surprise — both of
them using it! Well, I started talking to
Mary about sanitary protection and
found out lots of things I’d refused to
listen to before.
“First of all, Tampax was invented by
a doctor. That was assurance enough for
me! And then I just had to concede that
internal sanitary protection does have a
lot of advantages over the other kind.
Being so easy to dispose of, for example.
And preventing odor from forming. No
chafing, no irritation — that must be won-
derful! Then, too, I hadn’t realized that
you can wear it in the bath.
“What I’m conceding most of all,
however, is this: there are lots of decisions
a girl or a woman must make for herself.
The Tampax decision is one of them.”
Tampax is on sale at drug or notion counters.
Choice of 3 absorbencies: Regular, Super,
Junior. Tampax Incorporated, Palmer, Mass.
Your MAY issue
will be on sale at your newsstand —
APRIL 7
PHOTOPLAY
APRIL, 1955
FAVORITE OF AMERICA’S MOVIEGOERS FOR OVER FORTY YEARS
HIGHLIGHTS
Inside Stuff
. . Cal York 1
Its Fun to Be Thin Terry Moore 3
Average Score: Terrific! (Bill Holden I Dee Phillips 3
Beaux Catchers 3
Sentimental Rebel (Jeff Chandler) Wynn Roberts 4
The Jig’s Up, Maggie! (Maggie McNamara) Ernst Jacobi
Love Has Charms (Rory Calhoun) Beverly Ott
That Girl Kelly and Me (Grace Kelly) Rita Gam
Their Date with Destiny ( Robert Taylor — Ursula Thiess) . . . Ruth Waterbury
Changeable Lady (Eleanor Parker) Hyatt Downing
Duke — Prince Among Men (John Wayne) Robert Stack
Funny, What April Fools Will Do Sheilah Graham
The Starting Point (Bob Wagner) Maxine Block
Ten Years of Monroe (Marilyn Monroe) 6
The Big Gamble (John Derek) Maxine Arnold 6
Photoplay Star Fashions 6
Needle News £
STARS IN FULL COLOR
Terry Moore
34
May Wynn . . . .
38
Maggie McNamara
Bill Holden
36
Colleen Miller
39
Marilyn Monroe. .
Virginia Mayo
38
Taina Elg
39
John Derek
Marla English
38
Virginia Leith.
39
Ursula Thiess ....
Jeff Chandler .
41
SPECIAL
EVENTS
Readers Inc 4
That’s Hollywood . Sidney Skolsky 8
The Hollywood Story
Shirley Thomas 10
Hollywood Parties . Edith Gwynn 13
Let’s Go to the Movies . Janet Graves
Casts of Current Pictures ....
Hollywood Whispers . Florabel Muir
Brief Reviews
Laughing Stock . Erskine Johnson
Cover: Color portrait of Grace Kelly, currently starring in M-G-M's "Green Fire” and Paramoun ,
“ The Country Girl” and "The Bridges at Toko-Ri” ; by Howell Conant.
Other color picture credits on page 96
■
EDITORIAL STAFF
Ann Higginbotham — Editor Rena Firth — Associate Editor
Ann Mosher — Supervising Editor Janet Graves — Contributing Editor
Evelyn Savidge Pain — Managing Editor Margery Sayre — Assistant Editor
ART STAFF
Ron Taylor — Art Director
Norman Schoenfeld — Assistant Art Director
FASHION STAFF
Lillian Lang — Fashion Director
Hermine Cantor — Fashion Editor
HOLLYWOOD
Sylvia Wallace — Editor
Contributing Editors: Maxine Arnold, Jerry Asher, Beverly Ott, Ruth Waterbury
Photographer : Phil Stern
APRIL. 1955
VOL. 47, NO.
PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications, Inc., New York, N. Y.
EXECUTIVE, ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street. New York 17, N.
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Address your letters to Readers Inc., Photoplay. 205 East 42nd Street, Neu> York 17, New York
We regret we are unable to return or reply to any letters not published in this column
READE
SOAP BOX:
There’s an old theory to which I’ve subscribed
for a long time: You never know what you can
do until you try!
An actor or an actress has to be willing to take
chances. It’s this way in every career. Something
comes up jobwise — a departure from the usual —
and you find yourself asking, “Will l be able to
do it?”
When I was assigned to make “So This Is Paris”
Practice pays off, says Tony
my first musical, 1 had qualms. A song-and-dance
man? Me? 1 took my share of good-natured
kidding, too. But I had staunch backing and en-
couragement. From the studio executives who had
faith in me to cast me in a musical. F rom Janet,
who said, “It’ll mean hard work, but of course you
can do it!” From Jeff Chandler, now a recording
star, who offered good advice. From Gene Nelson,
who spent weeks rehearsing dance routines with
me.
I held my breath when 1 saw — and heard — the
rushes. 1 couldn’t quite believe it when Decca
asked me to cut a record. It seems that practice
paid off — and I hope my fans think so! I’m grate-
ful for my chance. And I’m glad that I took it!
Tony Curtis
I disagree with you on your article “A Won-
derful Thing Happened Today” in the January
issue of Photoplay. In this article you said that
Eddie Fisher’s fans were glad that he had at last
found the perfect mate. Well, it isn’t so. Most of
us feel that marriage now will ruin Eddie’s career.
That is the way my club feels. We aren’t willing to
give Eddie up to anybody, especially Miss Reyn-
olds. Until I die, I shall defend what I think is
right, and without a doubt I know that Debbie is
not the one for Eddie.
Maybe your magazine would like to take a poll
to see if the majority of Eddie’s fans feel this
way. It would undoubtedly prove for once and
forever that his fans are for this romance or against
it. Whatever the outcome will be, please don’t say
his fans are for his engagement unless you know
this to be a fact.
Fisherly yours,
Margaret Overby
Richland, Georgia
Now that Academy Award time is rolling ’round
again, what about an Oscar for the director whom
Hollywood has overlooked for nearly fifteen years?
— though he has deserved the honor on at least
half a dozen occasions, and though he singlehand-
edly has fathered an entirely new school of movie-
making and inspired countless imitators and
imitations — all pale carbon copies.
I’m referring, of course, to Alfred Hitchcock,
the Dean of the Mystery, whose “Rear Window”
is a superb blend not only of mystery, but also of
comedy, drama, sex and just about every other
ingredient needed to turn out a top-rank movie.
Arthur McLeod
Los Angeles, California
Must admit Bing turned in a pretty strong bid
for a second Oscar in Paramount’s “Country Girl.”
However, like they say in Brooklyn, afraid he’ll
just have to wait till next year. Marlon (“ On the
Waterfront”) Brando is too tough a competitor
for even the influential Crosby to buck.
Sassy Maher
Ridgewood, New York
Maureen O’Hara appears out of place in her
latest film, “Fire Over Africa.” Hollywood can
do better by Miss O’Hara and MacDonald Carey,
who seems just as uncomfortable as an agent dis-
guised as a smuggler. He probably wasn’t any
more uncomfortable than this reviewer. It’s too
bad that “Fire Over Africa” didn’t have a little
work put into the script, which is too funny for
melodrama and too sad for farce.
Larry Wood
Akron, Ohio
In your January issue of Photoplay you have a
picture of Barbara Darrow on page 37. Beside her
picture it says, “Barbara appeared in ‘Susan Slept
Here.’ ” I saw the movie twice and did not see
Barbara Darrow in it at all.
Barbara Dudley
New York, New York
Barbara appeared as secretary to psychiatrist
Rita Johnson in “Susan Slept Here.” She was
cast as a model in another RKO film, “The
French Line.” — ED.
Barbara Darrow was there
l have a little sounding-off to do. When will
Jeff Hunter’s studio open its eyes as to what it
has in him? Handsome, young, and oh, so talented.
I have had my fill of Mr. Bob Wagner and
would like a little change in the diet.
Give Jeff some of those pictures and you will
have a lot of happy, satisfied fans.
Janice Earl
Coolidge, Arizona
CASTING:
I think Ann Blyth is sensational . . . My fr
and 1 would love to see Ann and Rock Hudsi
a movie together . . .
Sara Jo Green
Conway, South Car
Why not star my two favorites, Virginia
and Rory Calhoun, in an exciting, romantic
ture? I think they’d be perfect together. Shu
beautiful, and he’s so handsome.
Kay Hall
Fairmont, North Car \
I would like very much to see Christopher
ley’s “Thunder on the Left” filmed. M
Brando is Martin.
Sharon Trii
Goshen, Ind
Jeff’s fans cry for a change
QUESTION BOX:
When 1 saw the movie, “ Man with a Millie
was greatly impressed by the English girl
Gregory Peck married in the end. Could yo
me her name?
Mary Link.
Amenia, New
Twenty-three-year-old London actress
Griffiths. — ED.
I have just seen the movie “Sabrina” i
thought it was wonderful! I would be very
ful if you could tell me the name of the i
song that was played at different times i
movie.
Pat Pershing
Spencerport, New
Wilson Stone wrote lyricless “Sabrina,
corded by Mitch Miller on Columbia
- ED .
I’ve just seen “White Christmas” and I th
it was wonderful. I’d like to know who playt
role of Susan. Could you please give me
information about her ?
L. Treiberc
Toronto, Ontario, C
Anne Whitfield, a fifteen-year-old 0:
Mississippi lass with plenty of radio and '>
perience. Anne’s a lepidopterist. That i
she collects butterflies as a hobby. — ED.
Conti
4
Everything about it is
different and exciting.
If s the rhythm-riddled story
of an exciting girl . . .
possessed by a wild craze.
It's the story of
the men, the women, the music
of the back streets of Venice
Starring
SIMM
MICHAEL
MANGANO -RENNIE -fflSSMAN
vrnoKio
SHELLEY
WINTERS
with. Katherine Dunham • A PONTI DE LAEKENTIIS Production,
A Paramount Picture • Directed by ROBERT ROSSEN
Story and Screenplay by Guido Piovene, Ivo Perilli, Ennio de Concini and jSjfc
Robert Rossen
contini
Replies From Survey Reveal:
9oOTOt| O
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sumDOUCMINGwuii
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Douching has become such a part of
the modern way of life an additional
survey showed that of the married
women who replied:
83.3% douche after monthly periods.
86.5% at other times.
So many women are benefiting by this
sanitary practice— why deny yourself?
What greater “peace of mind” can a
woman have than to know zonite is so
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douche?
ZONITE’s Many Advantages
Scientific tests proved no other type
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READERS INC...
Last week I saw “ White Christmas ” and
thought it was very good.
Who was the fellow that danced with Vera •
Ellen?
W as there a picture by the same name be-
fore, or are people thinking of “Holiday Inn”?
Mrs. Ursula Carterson
Baltimore, Maryland
John Brascia, a Fresno, California, lad
who began dancing only four years ago, has
already hoofed in “ Call Me Madam ” and
Broadway show “ Hazel Flagg.” Football
player Johnny’s only twenty-two years old.
Bing Crosby sang Irving Berlin s “White
Christmas” in Paramount’s “ Holiday Inn”
thirteen years ago. Star, studio, song and
songwriter remain the same in new 1954
picture. — ED.
1 have just seen that wonderful picture, “ The
Silver Chalice.” 1 enjoyed seeing that won-
derful new actor Paul Newman, who, 1 think,
looks so much like Marlon Brando, even when
1 saw him a few times on television. Please tell
me if they are related, and some statistics
about Paul Newman.
Diana Pirrone
New Rochelle, New York
Paul was born January 26, 1925, in Cleve-
land, Ohio, graduated from Kenyon College,
attended Yale Drama School, served in the
Navy. Summer stock and TV acting led to
a lead in Broadway’ s “Picnic,” thence to
Hollywood. Paul married actress Jackie
Witte in December 1949; they have two
children. Paul is 5' 11" tall, has blue eyes,
brown hair, is not related to Marlon Brando.
—ED.
Paul Newman — Marlon’s double?
What I’d like to know is what does a stand-
in do when a picture is being made. Does he
really appear in the pictures that we see at
our theatres?
N. Ross
Opheim, Montana
A stand-in works on the set in place of a
star, generally before shooting begins. He
does not appear in the film. Very rarely, a
double, not a stand-in, appears on-screen in
a scene when it is dangerous or inconvenient
for a star to do so. — ED.
Could you please tell me the names of the
sisters in “Athena”?
Rose Parisi
Chicago, Illinois
Athena — Jane Powell, Minerva — Debbie
Reynolds, Niobe — Virginia Gibson, Aphro-
dite— Nancy Kilgas, Calliope — Dolores Starr,
Medea — Jane Fischer, Ceres— Cecile Rogers.
—ED.
Would you tell me if Marilyn Monroe .
corded the songs she sang in “There’s No B ,
ness Like Show Business”? Will she sing \
“Seven Year Itch”?
A. Kosin
Buffalo, New Y ;
RCA Victor has a 45 rpm record of M
roe singing Heat Wave, Lazy, You’d Be 5
prised and After You Get What You W.
You Don’t Want It. Marilyn and Tom Ei
play Chopsticks in “The Seven Year Iu
—ED.
Would you please tell me Bella Darvi’s
name? I would appreciate any information
her.
Margaret Donohue
Durham, North Caro
Bella Darvi, starring in 20th’s
Racers,” was born Bella Wegier in So.
viec, Poland, on October 23, 1928. Raisei
John appeals to Bella in “The Racers’
Paris, she married, later divorced Frt
businessman Alban Cavalade. Bella’s
tall, has gray-green eyes, brown hair.—
Could you please tell me something a
John Hudson? I saw him in “Return to l
dise,” but I haven’t been able to find an ;
formation about him since then. The only f
I noticed his name is in the ’53 Photo
Annual. I have never seen a still life pic
of him in any magazine. Could you oblig
Leila M. Santo
Torrance, Califc
John was born in May 1922 in Califon
served in the Air Force, has Broadway,
and radio experience. He’s 6', has blue <|
brown hair, is single. He played in i
“Bright Victory,” “Battle at Apache fj
and “Cimarron Kid,” and you can see
currently in 20th Century-Fox’s
Racers.” — ED.
■ We’d like nothing better than to a
steer every single letter we receive as
ing for information and addresses of tl
stars. We can’t! Each week hundreds
letters are received. We can only answ
a limited number in Readers Inc. ea>
month. We suggest, therefore, that if yi
want to start a fan club or write yo:
favorite stars, address them at the
studios. And if you’re collecting pho
graphs, a good bet is to investigate ti
commercial organizations that have p
tures for sale. ED.
6
"Somebody told me
Kate is my mother.'.
F WHAT A GIRL DID —
OF WHAT A BOY DID - OF HURT
AND EXCITEMENT —
OF ECSTASY AND REVENGE. ••
m There
W are
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i good
V and
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m bad
ELIA KAZAN’S
EXPLOSIVE
PRODUCTION OF
JOHN STEIN BECKS
Warner Bros.
PRESENT IT IN
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TO BRING YOU REALISM AND INTIMACY
AS NEVER BEFORE I
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STARRING
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7
THAT’S HOLLYWOOD FOR YOU
i admire Bob Mitchum’s performance in
the “Blood Alley” hassle because he didn’t
blow a whistle. . . . The hardest gal in
pictures to figure out is Leslie Caron. . . .
Did you know there’s more smootching in
drive-in theatres during a Grace Kelly
movie than say a Jane Russell or Audrey
Hepburn picture? . . . Burt Lancaster has
a hatred for phonies and a deep fear of
accidentally becoming one. . . . There’s no
actress who can do the mambo like Mari
Blanchard. ... I can do without every
movie having a “mood” song being sung
over the credits. They’re overdoing it! . . .
Don’t overlook perky, pretty Peggy King
when you’re naming “Stars of Tomorrow.”
If I may be allowed a prediction, Peggy,
just signed by Paramount for a second
chance in pictures, will soon be on all
popularity polls.
Edmund Purdom is his favorite actor.
. . . There’s no actress who loves to sleep
as much as Gloria Grahame does. ... I
don’t get excited over every new singer
with a hit record. I’m loyal to Bing, Lena,
p Frankie and Ella — to mention a few. . . .
Trying to explain the astonishing statement
that at eleven she danced in a USO chorus,
8
Sheree North said: “I was well developed
and it wasn’t hard for me to lie about
my age.”
Why do I keep thinking that Katharine
Hepburn and Audrey Hepburn don’t care
too much for each other? . . . Piper Laurie
claims she has matured in many ways since
she became a movie star. . . . Somehow I
don’t believe the romantic items I read
about Bob Wagner and Joan Collins, the
bop-speaking doll from England. ... It
seems that sooner or later every good
movie is made again as a musical. There’s
“A Star Is Born” and “Young at Heart”
with many others such as “My Man God-
frey” in the works. Bet no one can take a
musical, throw away the songs and make
a good straight picture out of it. . . . Joan
Crawford wrote Rock Hudson a note of
congratulations on his wonderful perform-
ance after seeing him in a movie. That’s
what I like — a movie star becoming a fan
club for another movie star. . . . Most
young actresses trying to crash the movies
act as if they’re Marilyn Monroe or Audrey
Hepburn. All young actors trying to get
into pictures act as if they’re Marlon
Brando. ... As for Marlon, he tries to
analyze the handwriting of most of I
friends. ... I can’t understand why I
Crowley isn’t making a movie. . . . I
waiting for Kim Novak to bend down I
split those tight pedal pushers. ... Cl
help wondering what Edwin Booth w> II
have said looking at Richard Burtoiil
“Prince of Players.” . . . Add to reml
able remarks Pier Angeli’s on love sceB
“I always feel just terrible when I kfl
I’m going to do a love scene. It’s bee 1
I always think love scenes should be >1
of, well, private.”
Jean Simmons recently returned >1
England with husband Stewart Graitl
told me: “I left London because 9
weather was too good. I hate Lo> 8
when it’s not raining. I missed that >11
Hollywood fog.” ... If I may be 1
mitted another prediction, James De; 1
a leading contender in the 1955 ( at
Derby as result of his role in “Ea: ol
Eden.” My favorite character Marie '■
son was visiting a home where there a
a number of reproductions of Toul 3fl
Lautrec’s posters and Marie said tc 4
husband : “Look, Bill, here are the pic r®
that Jose Ferrer painted in that ‘M 4
Rouge’ movie.” That’s Hollywood for >U
BY SIDNEY SKOLSKY
Jean, Stewart cut short a London holiday — they missed the Hollywood fog
A new Marlon — a new
James Dean’s performance in “East of Eden” has Hollywood predict
Sid sticks his neck out for Peggy King
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HOUSE OF WESTMORE, INC., NEW YORK • HOLLYWOOD
THE
HOLLYWOOD
STORY
BY SHIRLEY THOMAS
NBC's Hollywood Correspondent
A breathless, happy young girl stood
on the snow-covered hilltop near Lake
Arrowhead and sighed in relief. What
a wonderful day — no lines to learn, no
scenes to stew about, nothing to do but
romp and play and skate and throw
snowballs and ride the toboggan. Cali-
fornia was a mad, wonderful state!
Here she was tobogganing in real snow
in the land of sunshine. Everything i
was perfect here — like being in the
movies, like reading newspaper predic-
tions that you — fourteen-year-old you —
might win an Academy Award for your 1
performance in your second movie. She
had to admit — it was a thrill to be
alive.
Her friends called and broke her
thoughts. “Come, the toboggan is
ready,” they yelled gaily. Merrily she
raced across the hard-packed snow,
squealing with excitement. Happily
she scrambled aboard, squeezing into
the space at the rear of the sled. With
a shriek of delight, they were on their
way. The wind whipped into the
youthful faces as they picked up speed
and carried their joyful cries across
the mountainside. Faster and faster
they flew. The girl was yelling with
happiness — one minute later she was
crying with pain. . . .
She awoke to the sharp antiseptic
smell of a hospital. Only her mind
seemed to respond; her body was im-
mobilized. She heard voices: “. . . year
to recover,” “. . . never walk again.”
Mercifully, she fell asleep before she
learned that they were discussing her
case.
After she came out of shock, after
the soothing anaesthetics had done
their work, they told her. Her back
was broken. The next six months must
be spent in a cast; another six months
(Mrs. Harry Conover) Conover School Beauty Director
confined within a steel brace.
Then would she be as good as new?
she asked. Would she walk and run
and dance?
The doctors answered her questions
with gentle evasions: “Time will tell.”
“We cannot look that far in the future.
Your chances are excellent, but right
now . .
During the next few weeks she cried
a great deal of the time. And why
not? She had cause to shed tears.
Yet, inevitably, the fountain of tears
was emptied. When the crying is
finished, there are two courses: to
curse the Fates and resign yourself to
a hopeless, helpless future or to vow
that this is only a minor setback, with
success still possible if only you wished
and wanted and willed it into being.
Ann chose her future. She decided
that life was worth living and therefore
it was worth fighting for.
In the next fifteen months the doc-
tors shook their heads with regret many
times, but never the girl. The doctors
made sad predictions, but never the
girl. People offered sympathy and she
rejected it. Failing to draw strength
and faith from others, she found it
within herself and from prayer she
found the will to go on.
Fourteen is a golden age for most,
■ but for the girl it was a time of pain
< and struggle. The laughter of her
teens was locked in a rigid cast ; the
happy years were imprisoned in a
steel brace. She never lost faith, nor
the ability to smile, nor the conviction
that what she would do she could do.
She emerged from the shattering ex-
perience unmarred, her beauty and
talent unspoiled. Today, the iron will
is well-concealed by her soft, delicate,
dark beauty, but it is there. All the
dramatic triumphs of her screen career
pale in comparison when you think of
the personal victory scored a dozen
i years ago through faith and fortitude
by Ann Bslyth.
“Our Conover girls know it’s
successful for every skin
type — dry, normal or oily!”
fingertips. It leaves my skin feeling so
much smoother and softer . . . with that
radiant look!”
= SQf
Pat Heyer, Smith College sophomore,
is planning an interior decorating career.
Says Pat: “It’s just good business to figure
that the decorative-looking decorator gets
the job! So 1 went to Conover’s, where I
learned their method of complexion care:
a twice-daily beauty-wash with Cashmere
Bouquet soap. 1 just cream that gentle,
fragrant lather over my face with my
Complexion and big bath sizes
“Make the most of your Cashmere
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keyed to your skin tones. For pale
skins, a pink or creamy powder;
ruddy skins take beige or light tan;
while olive complexions look lovely
in sun-tan."
CfXhdif
Listen to Shirley Thomas from Hollywood on
NBC Radio in the Pacific coast area at 5:30 p.m.,
i PST Sundays. Also to Shirley Thomas Reports
on Weekend, 3-5 p.m., EST Sundays, over NBC
I Radio. Consult your local newspaper for time
I and station.
Shirley , with star of 6iThe King's Thief ”
%fch your skin thrive on
Cashmere Bouquet Soap!
11
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BY EDITH GWYNN
HOLLYWOOD
PARTY LINE
A warm family affair was the beautiful wed-
ding of Carol Lee Ladd to Dick Anderson
here was a paucity of preems this month
iiut plenty of parties, large and small,
ilus some very special events, private and
mblic. Of course the most special event
las the gorgeous wedding, reception and
>uffet supper-dance at the Alan Ladds' for
' otter Carol Lee when she wed Richard
itnderson. Over five hundred guests
hronged the enormous tent erected on the
.adds’ spacious lawns. It was a striped
lent with transparent sides of lucite, and
ts interior was bedecked with millions of
mite flowers — so was the buffet “a few
miles long.” As a matter of fact, the entire
vedding motif was white — including the
iridesmaids’ dresses of white shantung
affeta. These were tight-bodiced, full-
kirted short formals. Carol Lee’s bridal
;own was a lovely thing of white Italian
! atin — a “period type” with long sleeves
nding in seed-pearl studded points over
er wrists. The train of the gown was
ormed from its own full skirt. Carol Lee
/ore a finger-tip length veil — flowing from
ler tiny hat of seed pearls. And she
i arried a bouquet of white orchids and
dies of the valley. The bridemaids were
orority sisters of Carol, Cary Grant
who “discovered” Dick Anderson for
lovies) was among the ushers, and Dick’s
toother. Bob Anderson, was best man.
Vith Alan Ladd, Jr., as ringbearer and
Carol Lee’s sister, Alana, as maid of
onor, this was truly a glamorous “family
ffair.”
Did we tell you about the lovely mid-
ight supper-dance given by producer Bill
’erlberg at Chasen’s? Jane Wyman was
ifiere with her manager Herb Brenner,
nd one of her best friends, Nancy Sinatra,
i /as at the soiree with Jane’s ex, Freddie
^arger. And they were not seated at the
ame table in the usual Hollywood “friend-
ly fashion!” Lori Nelson was with Guy
I dadison’s brother, Wayne Mallory, and
she looked real nice, in a simple black
evening gown. Donna Reed was in a stun-
ning black strapless. Bing Crosby with
Mona Freeman was “chaperoning” son
Dennis and his date, Caroline Wilson.
Mona was in fluffy white. Bill Holden and
Brenda Marshall, Gloria DeHaven with
Dewey Martin (they started up quite a
romance that night), the Jack Palances,
Dinah Shore and George Montgomery,
the Jimmy Stewarts, Fred MacMurray and
June Haver, the Bob Cummings were
others I saw at this small ball. And Greer
Garson with ever-lovin’ Buddy Fogelson.
This party inspired Greer to give one of her
own a few nights later, in honor of the
new wing — mostly of Italian pink marble
’ — just added to her Brentwood home.
Sohelpus! It’s been years — and prob-
ably will be years again before Tinsel-
town witnesses an opening night such as
greeted Sammy Davis, Jr., when he bowed
into Ciro’s for his first entertainment chore
since losing an eye in an auto smash. It
was the kind of a gala most visitors to
Hollywood (and millions of others) dream
about — with scores of stars there giving
Sammy a standing ovation for his great
talents and courage. It was sooooo excit-
ing! Judy Garland, Sid Luft, Humphrey
Bogart, June Allyson and Dick Powell
were tabled together (Judy and June both
in short black crepe dresses). So were
Jeff Chandler, Sammy’s chum, with Betty
Abbott, Liberace, the Ricardo Montalbans,
Hugh O’Brian, Anna Maria Alberghetti,
Ben Cooper, John Smith, the Gary Coopers,
Bob Taylor and Ursula Thiess (who sel-
dom night-club), Ginger Rogers and
Jacques Bergerac and Clark Gable with
Kay Spreckels. Things got so hectic at
one point, that proprietor H. Hover had to
call cops to control crowds outside! And
most of these famous folk came back night
after night to hear Sammy and applaud.
A rare night out for Jeff Chandler. He and
Betty Abbott attend Sammy Davis’ opening
13
Very grown-up and dating now , Anna Maria
Alberghetti dances with Ben Cooper at Ciro’s
Gloria DeHaven had heads turning when she
showed up at Chasen’s with Dewey Martin
Cal York’s
Gossip oj Hollywood
The new Marilyn Monroe not only at-
tended three parties in one week — she
proved to be the life of the party!
Lori, here with Jane Russell, Debbie,
at “ Underwater ” premiere, has a new
boy friend. His initials are “ B . F.”
When Kim Novak became a star she
didn’t get any glamour ideas — still
lives at Studio Club for girls only
Greg Peck, bearded for “Moby Dick,”
won t talk, but his favorite date is
still 22-year-old Veronique Passani
Love in Bloom: An enchanting ice skater
on tour in Europe is the reason behind Tab
Hunter’s impulsive dash across the Atlan-
tic. Just before he left Hollywood, how-
ever, he dated a young beauty named
Margaret O’Brien. Yup, she’s the one and
only, now eighteen and old enough to have
I quite a crush on handsome Tab. . . . While
Tab and Lori Nelson remain good friends,
she only has eyes for Bob Francis these
i days. Lori’s agent, former actor Dick
Clayton, introduced them and that’s why
[jit was so easy for Bob to get Lori’s phone
| number the following morning! . . . And
i while we’re still with Lori, she asked Deb-
bie Reynolds to “chaperone” her to the
underwater premiere of “Underwater” in
Florida. Then Eddie Fisher wanted to see
his best girl in New York, so he treated
Lori to the trip and she “chaperoned”
Debbie to the big city, where they toured
like tourists. A good time was had by all
of them.
Little Women: When she rocked Holly-
wood by forming her own “Marilyn Mon-
roe Productions, Inc.,” the former calendar
cutie also notified her agents she was dis-
pensing with their services. The same
week the same agency also received a letter
of dismissal from Terry Moore. Having
just succeeded in renewing her contract at
20th for a reported 11000 a week, they
bewilderedly called Terry and wanted to
know why.
“Because,” she floored them, “my astrol-
oger told me it was a good time to make a
change!” No more questions were asked!
According to Cal: Close friends of Ed-
mund Purdom insist he’s a charming chap
whose unorthodox behavior is the direct
result of strong influence and wrong ad-
vice. As everyone knows, Edmund’s heart
rules his head where Linda Christian is
concerned. She was bored by Hollywood
long before she separated from Tyrone
Power and she’s always yearned to be a
great star. So add up the score! What
with Linda transferring her own frustra-
tions, it’s highly possible that Edmund
becomes his own worst enemy!
Shooting Stars: Oh, how they love June
Allyson at Warner Bros! In the midst of
making “The McConnell Story” with Alan
Ladd, she walked on the set and there,
waiting, was a brand-new de luxe dressing p
Continued
15
IKTSIIDEL
STTLJP^FJ’
continued.
The plot thickens: There’s a new ending
to “ Young at Heart” because of Frankie’s
firm refusal to pass out of the picture!
Kay Spreckels flashed more than a smile when
she met Clark Cable on his return from Hong
Kong. But — the diamond’s her own, she says!
room. It was equipped with everything —
including plumbing and a tv set! . . .
And Clark Gable is so happy at 20th mak-
ing “Soldier of Fortune,” he’s giving
magazine interviews for the first time in
ten years. . . . Over at Paramount Danny
Kaye’s up to his elbows in midgets! The
little people on the “Court Jester” set are
so devoted to the comedian, he has to
watch his step because they follow him
p everywhere. . . . Rock Hudson is just plain
crazy about working with Jane Wyman,
this time in “All That Heaven Allows.” But
if he has his way, easy-going Rock won’t
be making another picture with Anne Bax-
ter. Set witnesses on “One Desire” report
Annie was too dominant and aggressive for
Rock’s friendly, peace-loving disposition.
In Case You Care: Jeff Chandler never
sends out holiday greetings until the 3rd
of February. “Makes it more special this
way,” grins the big fellow. And not so
incidentally, Jeff wrote the title songs for
The lady “Ain’t Misbehavin’ ” but she sure has
changed! Ever since Piper Laurie sang in the
film, she’s been bitten by the be-bop bug
his own “Foxfire” and “Six Bridges to
Cross.” . . . Jane Russell, Jeff’s co-star in
“Foxfire,” finally signed that contract with
producer Howard Hughes. For six films to
be made in five years, she’ll be paid $1000
a week over a 20-year period. “By that
time,” cracks the super-stacked star, “I’ll j]
be ready to play Ma Kettle!” . . . Grace p,
Kelly’s marriage to Oleg Cassini may never a
take place. But she’s already selected the B
gown she’ll wear next June when kid sister b
Lizanne marries former pigskin parader 11
Don Le Vine. . . . Race Gentry sets a ster- 1
ling example for our younger set. The -
popular fellow never goes to night clubs,
saves half his salary and recently traded in
his imported car on an old jalopy, making
a down payment on a lot with the money 1
left over for the future.
Stork Club: They really start ’em out !
young in Hollywood! For her first birth-
day, Virginia Mayo’s little Mary Catherine
had her party at elegant Romanoff’s in
Beverly Hills. . . . Howard Keel, who hopes
his third baby will be his first son, changed
his mind about naming him. Now Howie
wants to call him Gunnar, which is Swed-
ish— and how! . . . That explosive sound
emanated from the general direction of
Audie Murphy. A rival studio wanted to
use James Shannon Murphy in a picture,
but Audie has definite plans for his son’s
future. Becoming a “ham” isn’t on the
agenda!
Switcheroo: Pier Angeli’s mama didn't
go for her beautiful daughter’s romance
with Kirk Douglas and there were scenes
aplenty. But it’s quite a different story
with new son-in-law Vic Damone. Mama
cooks his favorite dishes and hopes twin
16
Continued
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IHMSIIDIE STUFF continued.
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sister Marisa Pavan will be as lucky
when she marries. And Jeff Hunter’s
mother-in-law is devoted to her son-in-
law, too. Even though Barbara Rush is
separated from Jeff, her mother talks to
him daily and refuses to take sides in
their marital melee.
Gifties: If we must ask a silly question
— how’d you like to be married to Rory
Calhoun? Lita Baron, who is and likes
it very much, came home to find a new
Cadillac sitting in their driveway. Her
handsome husband even had it wrapped
in cellophane! . . . Doris Day already
owns a Caddy, but she’s slightly hys-
terical over that new English bicycle
Marty Melcher gave her. It’s equipped
with a horn which Do-Do says — “sounds
like Aldo Ray!” . . . And while we’re
cooking with gasoline, Debbie Reynolds
informed M-G-M she was dyeing her
hair fire-engine red to match that Thun-
derbird Eddie Fisher gave her. The
studio was in a state of shock until they
discovered it was a Reynolds rib!
Brush Off: Elizabeth Taylor became
very restless while she waited for the
new baby. So Michael Wilding brought
home oil paints and brushes to get her
interested in a new hobby. It was a neat
trick except — now Mike has to pose for
Liz, too! . . . And Rock Hudson may (or
may not ! ) become a second Rembrandt.
Twice a week he rushes home where a
group gathers and they all paint with a
passion. Craig Hill started out with a
still life of an apple. But ambitious
Rock is merely painting a portrait of
Pope Pius XII!
Great Expectations: One night Bill
Holden picked up a novel called “A
Many Splendored Thing.” He couldn’t
put it down and then he was up at dawn
cabling Audrey Hepburn about the
great story. Audrey read the book and
cabled back that she’d love to make it
into a picture with Bill. Both are at
Paramount, so the excited actor bom-
barded the studio to buy it. Alas, some-
body goofed and 20th snatched up the
coveted property. Bill’s being bor-
rowed, but Jennifer Jones gets the role
disappointed Audrey wanted so badly.
Rags to Riches: Typical of the town,
when James Dean made his smash suc-
cess in “East of Eden,” his personal
publicists announced he had bought
himself a Cadillac and leased a swanky
Sunset Strip apartment. The truth is,
Jimmy still rides a motorcycle and he’s
living in an inexpensive little apart-
ment over a private garage. . . . And
bombastic blond Kim Novak, who be- f
came a star when she quietly stole'
“Phffft” from Judy Holliday, is still liv-
ing at the Studio Club for girls only. A
prominent furrier offered to sell Kim a
mink coat on the cheerful credit plan,
but the wise little woman preferred to
invest her money in dramatic lessons.
Ambitious starlets please note!
Foreign Intrigue: Now that Gregory
Peck’s divorced, the European press
refers to Veronique Passani as his (
fiancee. But Greg refuses to admit it,
even when the handsome couple spent
the weekend sightseeing in Madrid.
Audrey Hepburn told the London press:
she wants a baby, “the sooner the bet- i
ter.” And from an inside source, little
Audrey’s business associates wish Mel
Ferrer wouldn’t be quite so “interested”
in his wife’s career.
Sweet Note: Guess who’s dying to make
a musical? Our good friend Alan Ladd,
no less. And did you know he’s so gone
on pop music, Laddie takes a portable
phonograph with him. . . . And it had
to happen to Piper Laurie. Since sing-
ing three songs in “Ain’t Misbehavin’ ”
she’s so bitten by the be-bop bug, she’s
readying an act for Las Vegas. “There’s
just one tiny little hitch,” laughs the
redhead, “they haven’t asked me yet!”
18
A studio surprise for June Allyson when she made “The McConnell Story” with Alan Ladd
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19
THE
LET’S GO TO
MOVI ES
WITH JANET GRAVES
V'V'V'V' EXCELLENT l/i/p' VERY GOOD
// GOOD p'' FAIR
P
MORE REVIEWS ON PAGE 22
Interrupted Melody m-c-m; cinemascope, eastman col<
V'V'VV With Eleanor Parker as the opera star Marjor
Lawrence and Glenn Ford as her husband, this imposin
musical begins with a standard though convincing account <i
a rise to fame. Then it turns into an emotional drama of grei
intensity. In sequences that take the heroine from a remo r
Australian ranch to the operatic stage, Eleanor is complete
winning, putting enough force and fire into her work to 1
a plausible diva. In her romance with Glenn, a young docti
just starting practice, her career proves an obstacle. Bi
after their marriage, her career is suddenly halted by k
crippling attack of polio. Gripped by despair, she is r
turned to psychological health only through her husbanc
stubborn devotion. For singing scenes, smooth dubbing giv
Eleanor Miss Lawrence’s own magnificent voice. fa
Eleanor’s attentions keep Glenn’s mind off his phone ci
Prince of Players
20th; cinemascope, de luxe col
V'/'V' An authoritative lead performance by Richard Bi
ton gives shape to the film biography of Edwin Booth. T1
great 19th century actor is seen first as a boy, accompanyi)
his drunken but talented father (Raymond Massey) <
stage tours around the U.S. This hard experience hel
take the grown-up Edwin to success — but he fears that
has inherited mental instability as well as genius. As t
gentle actress who shares his troubled life, Maggie M
Namara looks surprisingly at home in her sedate costum
and coiffures. John Derek has the difficult role of broth
John Wilkes Booth, who brings tragedy upon the fami
and the nation. Though Burton is excellent in Shakespeare
scenes, some might have been cut to allow more scope for t
fascinating pictures of the last century’s theatre world, fami
As Richard’s bride, Maggie soothes the unease in his mi
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 28
FOR COMPLETE CASTS OF NEW FILMS SEE PAGE
The Long Gray Line COLUMBIA; cinemascope, technicolc
k'VW' Like “The Quiet Man,” director John Ford’s ne'
film shines with honest, irresistible sentimentality. In th:
case his affections include West Point as well as the Irish
Tyrone Power does an appealing job as the young greer
horn who becomes a US Army enlisted man serving at th
military academy. And he’s equally believable as he r<
traces the true story of Sgt. Marty Maher, a belove
counselor of the cadets for fifty years. Once again, Mauree
O’Hara is an enchanting colleen, a serving girl who bi
comes Ty’s wife. Betsy Palmer, a likable newcomer, pla)
a close friend, who is widowed in World War I, then mu:
watch her cadet son (Robert Francis) leave the Point t
go off to World War II. It’s a movie that rouses both laugl
ter and tears, touching both personal and patriotic feeling
FA Mil
The shy Maureen serves Ty with tea — but no encouragemei
20
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21
V'V'V'V' EXCELLENT
p'Vp' VERY GOOD
V'S GOOD
p'" FAI R
Hit the Deck
m-g-m; cinemascope, Eastman col
V'VV' Bubbling over with popular song classics and popuL
players, this lively comedy relates the adventures of thn
Navy men on shore leave in San Francisco. Russ Tambl\
(in his most rewarding role) is smitten with Debbie Rey
olds, singer-dancer in a revue. But he neglects romance fi
a misguided attempt to save his sister (Jane Powell) fro
a wolfish stage star (Gene Raymond). After this violei
rescue mission. Russ and pals Vic Damone and Tony Mart
have to dodge the Shore Patrol. Tony has love troubles, toi
Ann Miller thinks a six-year engagement is much too Ion
While wooing Janie, Vic helps along the courtship of h
widowed mother (comely singer Kay Armen) and a flori
(J. Carrol Naish). Except near the finish, the tangled plo
don’t slow down the gay tempo. famii
I
Vic and Janie, Russ and Debbie are together at the fina
The Racers 20th; cinemascope, de luxe col
V'W' Against varied and beautiful European background
this drama about the dangerous sport of auto-racing cas
Kirk Douglas as a thoroughgoing heel for most of the wa
An obscure Italian driver, he forges to the top of the racir
world with no regard for his own or other drivers’ safet
Though Bella Darvi forsakes the ballet to go with him fro
city to city, the picture’s almost over before it occurs to hi
to propose marriage. His general change of character isr
clearly explained, but the film still carries a punch. There
sheer visual excitement in the dizzying shots of speedin
swerving cars. Solid support is lent by Gilbert Roland ;
a devil-may-care driver, Cesar Romero as a steady vetera
Katy Jurado as Romero’s courageous wife, Lee J. Cobb ;
the drivers’ boss. adu
The sight of death sickens Katy and Bella; Kirk’s toughi
U-l; CINEMASCOPE, TECHNICOL'
Captain Lightfoot
V'V'V' Here’s some more handsome scenery, this time i
eluding Rock Hudson. Shot in Ireland, the picture is a
engaging swashbuckler about that country’s struggle again
its English masters in the early 19th century. Rock’s a yok
who bungles a patriotically intended robbery and finds tl
law on his trail. He’s rescued by Jeff Morrow, secret lead'
of the rebels. Impressed by Rock’s daring, Jeff drafts him ;
lieutenant, gives him fine clothes so he, too, may play tl
well-to-do gentleman when he isn’t harrying the Englis
Rock falls in love with Jeff’s spirited daughter (Barbai
Rush), who lives with her father’s sweetheart (Kathlee
Ryan ) . But romance plays second fiddle to adventure. Wit
no subtleties of plot or character, the movie is refreshing
light in manner, designed simply for enjoyment.
As Barbara listens, Rock and Jeff Morrow make risky plat
FOR COMPLETE CASTS OF NEW FILMS SEE PAGE
MORE REVIEWS ON PAGE 24
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 28
a bridesmaid...
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quickly turned to indifference. Poor girl!
She hadn’t the remotest idea why they
dropped her so quickly . . . and even her
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23
I dreamed
I was queen of the Westerns in mu
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Jupiter’s Darling
m-g-m; cinem
SCOPE, EASTMAN COLt
V'V'V' Ancient Rome makes a logical bad
ground for a sprawling, lavish musica
and this Esther Williams-Howard Ke<
vehicle takes full advantage of the poss
bilities. It’s played strictly for laughs, wit
Esther as the unenthusiastic betrothed <
dictator George Sanders and Howard i
Hannibal, the Carthaginian general wh
wants to add Rome to his list of conquest
When Esther tries to persuade the warric
to spare her city, love raises its lovel
head. Marge and Gower Champion ai
also on hand, as slaves, and the
dances they do make you wish for mon
The picture as a whole is less ligh
footed, but always good-natured. famii
tw|v.
Chief Crazy Horse
U-l; CINEM ASCOP lullt
TECHNICOW is aj
sh)
iarve
men
n
night
renc
mk
V\
lest!
/W One of the great stories of America
history comes to the screen, presentin
Victor Mature as the Sioux leader whos
valor and shrewdness in battle almost r<
pelled the advancing white men. Much <
the film was shot in the Sioux’ old horn
the weirdly rolling Black Hills of Dakot;
Suzan Ball, striking as ever, returns t bo I
movies as Mature’s wife, and John Lun
is a white trader who understands tl aito
Indians’ grievances. The picture isn’t hai fci<
died with any notable distinction, but tf are
power of the theme and the beauty of tl irali
backgrounds carry through. ]
Day of Triumph
CENTURY FILM
EASTMAN COL(
till
ir;
a!iv
N
.
V'dV' Movies about Biblical times hai
usually been presented as spectacles, bi
this account of the last three years in tl
life of Christ has a quiet simplicity th;
brings you close to its people. Jesus
portrayed with gentleness and authoril
by Robert Wilson. Though the picture
whole approach is reverent, some movi
goers may be uneasy about the modern j
zation of Biblical language and the intr
duction of fictional characters. Lee
Cobb plays one of these, an Israeli p
triot who wants to free his country fro
the Romans by force. Judas (James Gri
fith) is represented as a power-hungi;
member of this underground movemei'
who becomes a disciple only because 1
hopes to persuade Jesus to be the figur
head in the planned rveolt. Joanne Dru
performance as Mary Magdalene is a
propriately subdued, yet emotional, ar
Lowell Gilmore is a believable Pilate, ^
shrewd and shifty poliitcian.
FAMII
Battle Taxi
V'V'V' In a modest but thoroughly absor i
ing story of the war in Korea, the he
copters and their gallant pilots come fc ’
ward to claim the spotlight. Sterling Ha
den is the stern but warmhearted coi
mander of an air-rescue group. His chi
problem child is Arthur Franz, a onetin
jet pilot who persists in flying his “cho
per” as if it were a combat plane. Wi
the help of Marshall Thompson, anoth
pilot, Hayden finally persuades Frai
24
continued
at the unarmed ’copter can play a vital
■le in modern war. The narrative moves
liead straightforwardly, so you root for
5 heroes all the way. family
fie Wages of Fear filmsonor
KV After a slow start, this French film
with dialogue in both French and Eng-
ffi) suddenly knits together to become a
arvel of sheer suspense. In a Central
'merican oil town, derelicts of various
ationalities volunteer to drive trucks on
supremely dangerous mission. Nitro-
lycerine is needed to stop an oil-well fire,
id they must get the deadly load over
DO miles of rough roads, where one jolt
fight wipe out both truck and drivers,
rench idol Yves Montand is the reckless
pung hero; Charles Vanel is excellent as
jis aging partner, a suave crook. adult
moke Signal u-i, technicolor
F’ Hostile Indians and a yet more sav-
!ge river, winding between canyon walls,
|eep excitement high throughout this
l/estern. Dana Andrews, an Army officer
ho left his post and went to live with the
iidians, is arrested by the Army as a
raitor, though he’s bound on a peace
iiission. On the hazardous trip to the
'earest fort, his wilderness skill proves
jivaluable. William Talman is the leader
f the group; Rex Reason, a vengeful of-
cer; Piper Laurie, Rex’s fiancee — even-
rally disillusioned. Utah and Arizona
irovided the river scenes. family
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!ew York Confidential warners
y In a vigorous, blood-spattered crime
briber, Broderick Crawford heads that
amiliar organization The Syndicate. As
is chief triggerman, Richard Conte is a
uietly efficient type — who’s apparently
upposed to be the hero, in spite of all
be characters he rubs out. Anne Bancroft
ooks attractive and does a persuasive
cting job as Crawford’s gently reared
laughter, turning neurotic by her disgust
t his way of life. There’s a dead-pan
mmor in the gangsters’ businesslike op-
rations and pretensions to respectability.
Dut the over-all picture of the far-flung
syndicate has an air of fantasy rather
han realism.
song John Silver dca; cinemascope
EASTMAN COLOR
V Seen a few years ago in “Treasure
sland” as fiction’s most famous bucca-
ieer, Robert Newton does an encore in
his sequel. Hiding out in a Caribbean
avern run by a buxom lady-friend (Con-
tie Gilchrist), Newton again runs into
tis youthful acquaintance Jim Hawkins
Kit Taylor). Seems there’s still more
reasure on the fabled island, and another
xpedition gets under way. For most of
ts considerable length, the film is less a
equel than a pale carbon copy of the
lassie original. But it’s pleasant to look
with the Australian coast doubling for
-aribbean isles. FAMILY
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p
Want a good group project this spring?
f~~] An off-beat treat Q Bird
Posies ’n’ candy are dandy — but ask the
crowd: how about planning something extra,
this Mother’s Day? A really off-beat treat
for their moms? Then pool your wits and
wallets; throw a theatre party with the
mothers as honored guests. They’ll love it
'atching Q A Maypole party
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U. ». PAT. OFF,
CASTS
OF CURRENT PICTURES
BATTLE TAXI — U.A. Directed by Herbert I
Strock: Capt. Russ Edzvards , Sterling Hayden; Lieu
Pete Stacy, Arthur Franz; 2nd Lieut. Tim Vernal
Marshall Thompson; S/Sgt. Slats Klein, Leo Nee(
ham; Lt. Col. Stoneham, Jay Barney; Wounded G
John Goddard; Lieut. Joe Kirk, Robert Shermar
Lieut Marty Staple, Joel Marston; M/Sgt. Joe Mu
dock, John Dennis; Blue Boy Three-Gene, Da
Hutchinson; Lazy Joker Tzvo, Andy Andrews; Lieu
Smiley Jackson, Vance Skarsted; Medic Capt. Larse,
Michael Colgan; Co-Pilot Harry, Capt. Vincei
McGovern. I
CAPTAIN LIGHT FOOT — U-I. Directed by Dough
Silk: Michael Martin, Rock Hudson; Aga Dohert
Barbara Rush; Capt. Thunderbolt (John Doherty :
Jeff Morrow; Lady Ann More, Kathleen Ryar
Mahoney, Finlay Currie; Regis, Dennis O’Dea; Cap
Hood, Geoffrey Toone; Tim Keenan, Shay O’Gormai
Clagett, Robert Bernal; Sir George Bracey, Nig
Fitzgerald; Lord Clonmel, Chris Casson; High Stez
ard, Kenneth MacDonald; Tuer O’ Brian, Jam<
Devlin.
CHIEF CRAZY HORSE— U-I. Directed by Geors
Sherman' Crazy Horse, Victor Mature; Black Shazz
Suzan Ball; Major Twist, John Lund; Little B
Man, Ray Danton; Flying Hawk, Keith Larsei
General Crook, James Millican; Lt. Cartzvright, Dav
Janssen; Spotted Tail, Robert Warwick; Worm, Pa
Guilfoyle; Conquering Bear and Red Cloud, Morr
Ankrum; Old Man Afraid, Stuart Randall; Je
Mantz, Robert Simon; Caleb Mantz, James Weste
field; Aaron Cartzvright, Donald Randolph; Maj<
Carlisle, Dennis Weaver; Sgt. Guthrie , John Peter
•
DAY OF TRIUMPH — Century Films. Directed 1
Trying Pichel: Zadok, Lee J. Cobb; The Chris
Robert Wilson; Caiaphas, Ralph Freud; Peter, Tyl
McVey; Andrezv, Touch Connors; Cloas, Toni Gerr;
Mary Magdalene, Joanne Dru; Judas, James Griffitl
Annas, Everett Glass; Pilate; Lowell Gilmore; Bara
bas, Anthony Warde; Nikator, Peter Witney.
•
HIT THE DECK — M-G-M. Directed by Roy Ro'<
land: Susan Smith, Jane Powell; Bill Clark, USi
Tony Martin; Carol Price, Debbie Reynolds; A
miral Smith, USN, Walter Pidgeon; Rico Ferrai
USN, Vic Damone; Wendell Craig, Gene Raymon
Ginger, Ann Miller; Danny Smith, USN, Russ Tai
blyn; Mrs. Ferrari, Kay Armen; Lt. Jackson, USi
Richard Anderson; 3rd Shore Patrol, Jimmy Thom
son; Mr. Peroni, J. Carrol Naish.
•
INTERRUPTED MELODY— M-G-M. Directed 1
Curtis Bernhardt; Tom King, Glenn Ford; Mar joi
Lazurence, Eleanor Parker; Cyril Lawrence, Rog 1
Moore; Bill Lazurence, Cecil Kellaway.
•
JUPITER’S DARLING — M-G-M. Directed 1:
George Sidney: Amytis, Esther Williams; Hannibi
Howard Keel; Meta, Marge Champion; Variu
Gower Champion; Fabius Maximus, George Sander:
Horatio, Richard Haydn; Mago, William Demares
Fabia, Norma Varden; Scipto, Douglass Dumbrill
Carthalo, Henry Corden; Maharbal, Michael Ansar
Widow Titus, Martha Wentworth; Principal swii
ming statue, Jonn Olszewski; The Swimming Cheru
courtesy of Lissa Bengtson.
LONG GRAY LINE, THE — Columbia. Directed
John Ford: Marty Maher, Tyrone Power; Ma
O’Donnell, Maureen O’Hara; James Sundstrom, J
Robert Francis; Old Martin, Donald Crisp; Cat
Herman J. Koehler, Ward Bond; Kitty Carter, Bet
Palmer; Charles Dotson, Phil Carey; Red Sundstro
William Leslie; Dwight Eisenhower, Harry Cart
26
; Cherub Overton, Patrick Wayne; Dinny Maher,
; an McClory; Corp. Rudolph Heinz, Peter Graves;
' pt. John Pershing, Milburn Stone; Mrs. Koehler,
in O’Brien Moore; Mike Shannon, Walter D.
lers; Major Thomas, Willis Bouchey; McDonald,
n Barclay; Jim O’Carberry, Martin Milner;
\hitey Larson, Chuck Courtney.
*
)NG JOHN SILVER — DCA. Directed by Bryon
'll iskin: Long John Silver, Robert Newton; Purity
nker, Connie Gilchrist; Jim Hawkins, Kit Taylor;
is \rndoza, Lloyd Berrell; Patch, Grant Taylor; Israel
■ inds, Rodney Taylor; Billy Bowlegs, Henry Gil-
•t; Governor Strong, Harvey Adams; Lady Strong,
iriel Steinbeck; Old Stingley, John Brunskill; Big
ic, Harry Hambleton; Trip Fenner, Eric Reiman.
•
Eli
S, %W YORK CONFIDENTIAL— Warners. Directed
. Russell Rouse: Lupo, Broderick Crawford; Daga-
i fiian, J. Carrol Naish; Nick Magellan, Richard
i nte; Achille, Onslow Stevens; Kathy, Anne Ban-
: >ft; Kincaid, Tom Powers; Franklin, Steven Geray;
li lima Lupo, Celia Lovsky; Iris, Marilyn Maxwell;
i: mak, Carl Milletaire; Williamson, William Forrest.
•
HNCE OF PLAYERS— 20th. Directed by Philip
anne: Edwin Booth, Richard Burton; Mary Dev-
ill m
r i, Maggie McNamara; John Wilkes Booth, John
;*rek; Junius Brutus Booth, Raymond Massey; Dave
escott, Charles Bickford; Asia, Elizabeth Sellars;
p. te Queen, Eva Le Gallienne; Edwin Booth (age 10),
. iristopher Cook; English Doctor, Dayton Lummis;
I liertes, Paul Stader; John Booth (age 12), Louis
exander; Old Ben, William Walker; Theatre Matt-
er, Jack Raine; Theatre Assistant, Charles Cane;
jraham Lincoln, Stanley Hall; Mrs. Lincoln, Sarah
lidden; English Nurse, Ruth Clifford; Bernardo,
an Hayes; Francisco, Paul Frees; Horatio, Ben
right; Young Lady, Melinda Markey; Mrs. Mont-
' esingt on, Eleanor Audley; Polonius, Percival Viv-
i; Doorman, George Dunn; Nurse, Ruth Warren;
odor, Richard Cutting; Colonel, Lane Chandler;
ajor Rathbone, Steve Darrell; Stage Doorman,
iorge Melford; Trenchard, Tom Fadden; Barten-
r, Henry Kulky; Catesby, Olan Soule.
•
ACERS, THE — 20th. Directed by Henry Hatha-
ly: Gino, Kirk Douglas; Nicole, Bella Darvi; Dell
]ro, Gilbert Roland; Carlos, Cesar Romero; Maglio,
it J. Cobb; Maria, Katy Jurado; Piero, Charles
bldner; Michel Caran, John Hudson; Count Salem,
eorge Dolenz; Toni, Agnes Laury; Dr. Tabor, John
rengraf; Pilar, Richard Allan; Baron, George
ivot; Chata, Francesca de Scaffa; Dehlgreen, Nor*
rt Schiller; Fiori, Mel Welles; Rousillon, Gene
’Arcy; Dell ’Oro’s Mechanic, Mike Dengate; Gatti,
eter Brocco; Race Official, Stephen Bekassy; Red
aired Girl, June McCall; Luigi, Frank Yaconelli;
mka, Ina Anders; Nurse, Gladys Holland; Dr.
eger, Ben Wright; Interne, James Barrett; Teen-
ie Mechanic, Chris Randall; Premier Ballerina,
nna Cheselka; Dr. Bocci, Joe Vitale; Doorman,
alvador Baguez; Race Official, Eddie Le Baron;
cashier, Peter Norman; Race Announcer, Carleton
oung.
•
MOKE SIGNAL — U-I. Directed by Jerry Hopper:
rett Halliday, Dana Andrews; Laura Evans, Piper
aurie; Lt. Ford, Rex Reason; Captain Harper, Wil-
am Talman; Rogers, Gordon Jones; Miles, Milburn
tone; Garode, Douglas Spencer; Livingston, Wil-
am Schallert; Porter, Bill Phipps; Daly, Bob
/ilkie ; Delche, Pat Hogan; Ute Prisoner, Peter Coe.
•
/AGES OF FEAR, THE — Filmsonor. Directed by
h G. Clouzot: Mario, Yves Montand; Jo, Charles
anel; Bimba, Peter Van Eyck; Luigi, Folco Lulli;
inda, Vera Clouzot; O’Brien, William Tubbs; Chief
f “Boss” Camps, Centa; Hernandee, Mario Moreno;
merloff, Jo Dest.
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27
Vic’s singing Pier lullabies these days
HOLLYWOOD
WHISPERS
BY FLORA BEL. MUIR
about the way the stork's been
booked solid by famous Hollywood
filmites, what with Pier Angeli still
looking beautiful in her lovely
trousseau finery and at the same
time announcing plans that the Vic
Damones are expecting a stork vis-
itor . . . About how Janie Powell
and Pat Nerney hardly wore off that
just-married look when they started
sporting a parental glow. Janie’s
expecting in July . . . Some other
visits from Sir Stork will be made at
the Guy Madisons’ and the Bob
Taylors’.
•
About the signs Dorothy Mature
has been showing that she might
like a reconciliation try if only Vic
were more willing . . . And the re-
vival of those rumors that Marilyn
Monroe and Joe DiMaggio are see-
ing eye-to-eye since their excursion
to Boston . . . The unhappy news
that cute Maggie McNamara and
writer-husband David Swift are no
longer willing to make it a go . . .
And the troubles Rita Gam is hav-
ing in holding her eight-year mar-
riage to stage and tv producer Sid-
ney Lumet together because of
career separations . . . The happy
smile on Jack Webb’s face these
days, put there by new Mrs. Webb.
•
About the way men have taken
a new interest in fashion, what with
Liberace and his brocade jackets
and Edmund Purdom and his 18th
century snuff box and now Van
Johnson, who's sporting a pair of
black velvet dinner slippers with
red leather lining and gold braid
monograms, no less!
BRIEF REVIEWS
For fuller reviews, see Photoplay for months in-
dicated. For this month’s full reviews, see page 20.
'/'V'V'V EXCELLENT SY'V' VERY GOOD ^ )/ GOOD k' FAIR A — ADULTS F — FAMII
kW AMERICANO. THE— RKO, Eastman Color:
Lively Western. Texas rancher Glenn Ford de-
livers prize hulls to Brazil, gets into a range war,
with Frank Lovejoy and Ursula Thiess on opposing
sides. Vivid location shots. (F) March
kW BAD DAY AT BLACK ROCK— M-G-M;
CinemaScope, Eastman Color: In an offbeat mys-
tery, Spencer Tracy finds a small Western town
is covering up a past crime, at Robert Ryan’s
command. With Anne Francis. (F) March
V'V'V' BATTLE CRY — Warners; CinemaScope,
WarnerColor: Aldo Ray and Tab Hunter are
among young Marine recruits being trained for
World War II by Van Heflin. Emphasis is on love
stories, notably Aldo's and Nancy Olson’s, Tab’s
and Mona Freeman’s. (A) March
kW BLACK TUESDAY— U.A.: Edward G. Rob-
inson, Peter Graves break out of the death house
in a violent thriller. (F) March
kW BRIDGES AT TOKO-RI, THE— Paramount,
Technicolor: Simple, well-acted story of carrier-
based jets over Korea. William Holden’s a pilot;
Grace Kelly, his wife; Fredric March, an admiral;
Mickey Rooney, a ’copter pilot. (F) March
CARMEN JONES — 20th; CinemaScope,
De Luxe Color: Brilliant, unusual musical, set in
America's South. Dorothy Dandridge. as the tempt-
ress. and Harry Belafonte, as the soldier she ruins,
head an all-Negro cast. (A) January
kW COUNTRY GIRL, THE— Paramount:
Strong theme, intelligent acting. Bing Crosby fights
alcoholism to try a stage comeback, aided by wife
Grace Kelly and Bill Holden. (A) January
k'kV DEEP IN MY HEART— M-G-M, Eastman
Color: Jose Ferrer as composer Sigmund Romberg
in a rich, all-star musical biography. Doe Avedon
is his wife; Merle Oberon, his collaborator ; Helen
Traubel, a friend. (F) February
kkk" DESTRY — U-I, Technicolor: Brisk, humor-
ous horse opera. Peaceable Audie Murphy cleans
up a corrupt frontier town. Lori Nelson’s a nice
girl; Mari Blanchard, a siren. (F) February
kW DOCTOR IN THE HOUSE— Rank, Repub-
lic; Technicolor: Funny, rambling, irreverent tale
of students working or trying to bluff their way
through medical school. British-made, with Dirk
Bogarde, Kenneth More. (A) March
kVW FAR COUNTRY, THE— U-I, Techni-
color: Vigorous, skillfully made Western. In old-
time Alaska, hard-bitten James Stewart is stranded
in a town terrorized by hoodlums. Corinne Calvet s
a tomboy; Ruth Roman, an adventuress. (F) March
kkk"k GREEN FIRE — M-G-M; CinemaScope,
Eastman Color: Robust, good-natured adventure
movie, about a search for emeralds in Colombia.
Stewart Granger, Paul Douglas are bickering part-
ners; Grace Kelly, a proud heroine. (F) February
kkk PHFFFT — Columbia: Judy Holliday and
Jack Lemmon expertly portray a divorced pair who
grimly try to lead gay single lives. Slight but
smoothly done farce. (A) January
kW PURPLE PLAIN, THE— Rank, U.A.; Tech-
nicolor: Action, gentle romance, vivid war scenes
combine in a story set in Burma, but shot in
Ceylon. Gregory Peck, neurotic RAF flyer, finds
healing in a Burmese girl’s love. (F) February
kVW ROMEO AND JULIET— U.A.: Beautify
absorbing English version of Shakespeare’s pis
shot in Italy. Youthful Susan Shentall, Lauren
Harvey are lovers parted by a feud. (F) Janua
kW SIGN OF THE PAGAN— U-I; Cinen
Scope, Technicolor: Spectacle, intrigue and w
in the fifth century. As Attila the Hun, Ja
Palance plots to attack the Roman Empire; o
cer Jeff Chandler, to defend it. (F) Februa
kW SILVER CHALICE, THE— Warners; Cir
maScope. WarnerColor: Pageant of the Rom
Empire, with handsome sets. Sculptor Paul Ne
man weds a Christian girl (Pier Angeli), remai
infatuated with Virginia Mayo, assistant to
power-mad magician (Jack Palance). (F) Mar
kW SIX BRIDGES TO CROSS— U-I: Rap.
fire cops-and-robbers yarn. Cop George Nader tr
to reform Tony Curtis, juvenile delinquent w
becomes a master crook. (A) Mar
kW SO THIS IS PARIS— U-I, Technicolc
Cheerful, youthful tune-film. Tony Curtis, Ge
Nelson, Paul Gilbert are sailors seeking roman
on shore leave. Gloria DeHaven gets them into
plan to help French war orphans. (F) Februa
kkkk STAR IS BORN, A — Warners; Cinen
Scope, Technicolor: Judy Garland and James IV
son are excellent as a rising film star and her al
liolic husband. Dazzling music-drama. (F) Janus
kVkV THERE’S NO BUSINESS LIKE SHO
BUSINESS — 20th; CinemaScope, De Luxe Col<
Big musical about a family of vaudevilliam
parents Ethel Merman and Dan Dailey, kids Mi
Gaynor, Johnnie Ray and Donald O’Connor (w
falls for singer Marilyn Monroe). (F) Mai
kk THREE RING CIRCUS— Wallis, Paramour
VistaVision, Technicolor: Martin and Lewis ere;
a fair number of laughs in a vaguely plotted tale
the big top. (F) Janu.
kkW' 20,000 LEAGUES UNDER THE SEj»
Disney; CinemaScope, Technicolor: Splendid, e
filling science-fiction adventure. Brooding Jan
Mason captains a 19th century submarine, c
tures Kirk Douglas and others. (F) Mai
kkk UNCHAINED — Warners: Earnest, mov
close-up of an honor prison designed to rehabilit
inmates. Chester Morris is the warden; El.
H irsch, a rebellious convict. (F) Janu; I
UNDERWATER! — RKO; SuperSco <
Technicolor: Humorous, excitement-filleil treasu ■ t
hunt tale. Jane Russell, husband Richard Eg, i
pal Gilbert Roland borrow Lori Nelson’s yacht' .
seek a galleon sunk in the Caribbean. (F) Ma
k'WV’ VERA CRUZ — U.A.; SuperScope, Tech
color: Lusty, lighthearted melodrama of Mexh '
fight to shake off French rule. Gentlemanly G, ' i
Cooper, scoundrelly Burt Lancaster hire out th •
guns. Filmed on location. (F) Ma i
V'V'V' VIOLENT MEN, THE— Columbia ; Cinei •
Scope, Technicolor: Grim range-war tale. Edw 1
G. Robinson's a cattle baron; Barbara Stanw) , t
his faithless wife; Dianne Foster, their daught ;
Glenn Ford, a rancher. (F) Febru t
V^V'V' YOUNG AT HEART— Warners, Wan •
Color: Leisurely musical romance. At first in 1 2
with Gig Young, Doris Day weds Frank Sina ,
a self-pitying musician. (F) Ma i
“Yes, I use Lustre-Creme
Shampoo,” says -Jane Wyman.
It’s the favorite of 4 out of 5
top Hollywood movie stars!
It never dries your hair! Lustre-
Creme Shampoo is blessed with
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even in hardest water . . . leaves
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It beautifies! For soft, bright, fra-
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America’s most glamorous women.
Use the favorite of Hollywood movie
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BY ERSKINE JOHNSON
%
for a Spring romance...
LAUGHING
STOCK
Fan letter to Guy Madison from a nine-
year-old Chicago girl :
“I'd like to have you spend the month of
August at my house. You’ll have to leave
on September 1, though, because I’ve asked
Clark Gable for the month of September.”
After reading the medic best-seller, “Not
as a Stranger,” Edgar Bergen says he’s
preparing four new tv shows: You Bet
Your Liver, Four Scar Playhouse, The
Novocain Mutiny and This Is Your Knife.
A jivester, insists Peter Arnell, has his
glasses made by a boptical company.
A starlet told a friend she had played
secretaries in twenty films.
“Good at shorthand?” queried the
friend.
“No,” said the starlet, “short lines.”
A character rushed up to a Hollywood
couple celebrating their twenty-fifth wed-
ding anniversary and gushed: “How won-
derful. You were made for one another. I’m
sure there were no thoughts of divorce in
all those twenty-five years.”
“No,” said the husband. “But on many
occasions, I assure you, there were thoughts
of murder.”
Jack Benny about his golf:
“I’m not so good. I lost the ball on a
green once.”
The difference between a psychotic and
a neurotic is making the studio rounds.
The psychotic believes two and two are
five. The neurotic knows two and two are
four but it makes him nervous.
Overheard at Lucy’s: “I’m forming a
new club, Sobers Anonymous. It’s lor peo-
ple who want to fall oH the wagon.’
Overheard at Ciro’s: “She came up the
hard way — just talent.”
Sir Cedric Hardwicke says he knows an
actress who is working in two pictures at
once — her first and her last.
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Talking about a notoriously vain actress,
a catty doll said:
“Vain? She even refuses to take her
mirror’s word for it.’
Chester Morris’ first movie after five
years of tv acting, “Unchained,” was on
location at the California Institution for
Men at Chino. Wearing dungarees and T-
shirt, Morris was sitting at a table in the
picnic area where families visit inmates of j
the prison.
He noted a buzzing at a nearby table
and overheard a lady’s loud whisper, "Isn t
that Chester Morris?” Told she was right,
the lady said:
“So Morris is in here. No wonder we
haven’t seen him in pictures lately.
Description of a Hollywood wolf: A fine
fellow once you get to no him.
Overheard: “She’s a golddigger — you
know, a doll who mines her own business.’
*See Erskine Johnson’s "Hollywood Reel"
on your local TV station
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I’m a girl who likes to eat heartily
— out of sheer love of good food. And
I’ve always been very active. But
there comes a time in every young
girl’s life when she finds she’s
managed to consume more calories
than her body has been able to bum.
My time arrived. One evening I looked
into the mirror and made a decision.
“My figure could stand some stream-
lining,” I sighed. “A couple dozen
pounds worth, I think.”
The statement startled my mother.
“Five pounds will do nicely,” she said.
“Your father and I will tolerate no
Continued
only have a slimmer
figure— but a brand
Continued
malnutrition cases around this house.”
“But I’d like to be able to sort of
slither around.” I teased. “Sophisti-
cated siren-like.”
“We’ll tolerate no sophisticated sirens
either,” she declared. “Just several
pounds less of Terry Moore, if you’re
really serious about slimming down.”
I was. A few pounds make a big
difference with me. And I’ve found
that this is true of any motion-picture
actress. Keeping in trim is a must in
this profession as the camera records
each extra ounce and discerning fans
with their eyes upon the CinemaScope
screen are quick to note overweight.
I’d been off-screen for a number of
months and had my heart set on a role '
in one of 20th’s finest new productions,
“Daddy Long Legs.” Naturally I
wanted to be in perfect shape so I
would be ready if I were lucky enough
to get the role.
So after a conference with my doc- 1
Terry Moore is next in “Daddy Long Legs'
tor, I set out to lose eight pounds (and
I might add-— got the part and joined
Fred Astaire and Leslie Caron in the
cast).
If you’ve ever tried dieting — and
what girl hasn’t? — you’ll know there’s
work involved. Work and will power.
But the rewards ( Continued on page 82)
As you slim, you begin to take more
pride in everything about yourself —
clothes, hair-do, even your fingernails
Weight problem is an individual matter.
I wanted to lose twelve pounds, but my
doctor thought eight was better for me
To be effective, exercises should be
done regularly. Some of my best pound-
ing was done while talking on the phone!
A glass of skimmed milk or an apple
may not sound terribly helpful, appe-
tite-wise, but they make dieting easier
35
H-
Bill Holden Is In
"Country Girl”
and
Many Splendored Thing”
Ardis is Bill’s best
movie critic — works
with him on scripts
With his Oscar. “Pop-
ularity” he insists,
“is due to good films”
If he makes a Western
his stock will go up
with sons West, Scott!
A Cadillac now —
but for years a
secondhand car
He also has a mad
passion for musi-
cal bones, drums!
When he’s going to
travel he reads every-
thing about the place
Connoisseur, epicure,
gourmet, he likes ham-
burger with sour cream
Things happen to Bill,
as Ardis knows, after
fourteen hectic years
He’s tops in any role,
but oh, what a character
Bill Holden is when
he’s just being himself!
BY DEE PHILLIPS
# Bill Holden has so often been called
colorless, unromantic, stuffy, dull or bad
copy that the public has begun to wonder:
“Who and what is Golden Boy Holden? Can
the color, vitality and deep sensitivity he
shows on the screen be just good acting?
Is he a machine turning on emotions, humor
and personality only for the benefit of the
camera?” The answer is uh-uh — not on your
CinemaScope tintype!
It takes a combination of Sherlock Holmes
and Sgt. Joe Friday to tear through the facade
that Bill has built around his family and
himself. He answers questions honestly —
but incompletely, telling only superficial
facts about himself. He states his reasons
frankly: “What the public expects is some-
times what the actor considers an invasion
of privacy. I owe my success to guys like
Billy Wilder [the producer-director], who
polished ‘Sunset Boulevard’ and ‘Stalag 17’
like jewels and then got the best out of
me. Popularity is ( Continued on page 109)
With Grace Kelly on “Bridges at Tolco-Ri” set. “I’m not the
guy-next-door-type,” says Bill. “The guy could be a jerk!”
AVERAGE SCORE:
TERRIFIC!
37
Virginia Mayo is in "The Silver Chalice'
Virginia Mayo We'd say this is really getting a bead on a man!
Anyway, it's a pretty way to rope him in. Of course, Ginny will
discard some of her collection- — mustn't overdo your lines, ladies
Marla English Here's a pretty piece of whimsy that should add
sparkle to any girl's conversation — matching sweater and phone.
Naturally, it must be seen to be appreciated. That's the idea!
May Wynn He'll be happy to have you wear the pants — -like
these! It's that feminine touch a man likes — the patches we
mean. Make 'em gay. He won't quit admiring you on the job
May Wynn is in "The Violent Men"
■
BEAUX
Marla's last is "Shield tor Murder"; Sweater and phone
38
CATCHERS
Accessories won't hold a man —
but they'll catch his eye
and make him linger long enough
to get to know you I
the 400 Shop • Colleen's in "The Purple Mask"; Umbrella and coat by Amelia Gray
Taina is in " The Glass Slipper" ; Cape by Luisa Spagnoli
Colleen Miller Expect showers of compliments when you step
out in this rainy-day ensemble. Posies on a parasol to match
the color of your coat — if they don't get him, he's really all wet!
Taina Elg A sure-fire way to start a blaze — romantically — is
Taina's fireman red cape. But here's the provocative part. It's
angora — as soft and cuddly as a kitten. Hear that man purr!
Virginia Leith A convertible cap that's both hat and scarf makes
I a pretty frame for your face, brings out that pixie look men love.
So let the wind blow — you're warm. And he's getting warmer!
Virginia Leith is in "White Feather"
SENTIMENTAL
REBEL
Not for Jeff the torn shirt, un-
combed hair of the obvious
rebel — his revolt is quieter
Because it’s disturbing to
drop in during the week, he
now sees his girls Sundays
Jeff, here with Julie Adams ,
resents romantic coupling,
he says — “because of Marje!”
40
A maze of contradictions
is Jeff Chandler, who
refuses to conform
then lets his sentiment
show in a way
he doesn’t realize
BY
WYNN ROBERTS
# Jeff Chandler is a rebel, not an obvious rebel like Marlon
Brando or Monty Clift or that new and very talented wild
man Jimmy Dean. Not for Chandler the sloppy shirt, the
uncombed hair or a noisy motorcycle. His rebellion is
quieter.
For example, take his living in his studio dressing room.
It’s a big luxurious dressing room. But for a man with his
income and position it seems as ridiculous for him to live
there as it would be for the head of a great corporation to
sleep in his office. That is, until you examine the situation
more closely. •
Living at the studio, Jeff is completely safe from the
lenses of prowling cameramen, the ears of listening colum-
nists. He’s no hermit. But as nearly as he can manage
it, he means to have romance on his own terms — which
are not the terms of hitting the ( Continued on page 85)
Jeff Chandler
is in “Foxfire"
JIG'S
3
Maggie, who hates to be called cute, is happier about role in "Prince of Players"
42
Those Irish eyes
aren't smiling at
the ballyhoo and
publicity. But let's
face it. Miss McNamara —
you can't get away
from it all
• One evening last October, a tiny, black-haired, small-framed young
girl shyly plunged into the furred and jeweled opening-night crowd inside
the lobby of the new Huntington Hartford Theatre and surreptitiously
made her way down the aisle to her seat. Slumping into the seat, she imme-
diately buried her head into the program and impatiently scanned the cast
credits, seemingly unaware of the glamour and lavishness of the evening
and equally unaware of her own importance. The girl was Maggie Me
Namara, and this marked her first appearance at a Hollywood social event.
It took both Helen Hayes, who was starring that evening in “What Every
Woman Knows,” and Elia Kazan to bring Maggie out this night, for on
all visits to Hollywood, Maggie McNamara lived ( Continued on page 98)
..
MAOOIEI
Maggie hid in projection room
when "Moon Is Blue" was pre-
miered, vanished when "Three
Coins in a Fountain" opened!
The Calhouns: Rory’s In "The Looters”
Left, -only Leo had champagne hangover
Below, left— for times when they’re apart
Below, right— an actor’s medal for Lita
Lita’s birthday “Leo.” Rory didn’t forget
Below, the charm that stopped Lita’s show
44
Remembrances on a bracelet,
each a golden symbol of romance,
telling the story of Lita’s
and Rory’s marriage
LOVE I I AS CHARMS
• The bracelets are of solid gold and the links are strong.
The charms upon them are also gold and the designs are
intricate. However, there are only two people in the entire
world who would be able to quote you their true value. One
is Lita Calhoun. The other is Rory Calhoun. “You see,” Lita
explains, “they’re much more than decoration pieces. Each
charm has a special meaning.”
“They tell the story of our marriage,” Rory adds.
Lita smiles as he says it — the smile of a woman in love.
“These charms represent our happy times and our sad times,”
she goes on. “Some of the incidents have little meaning to
anyone but Rory and me. But they’re the little remembrances
that help make a marriage a lifelong romance, that constantly
renew the feeling of closeness between a husband and wife.
“We’re sentimental, Rory and I. We’ve never taken our
marital vows lightly. We’ve never forgotten them. When the
BEVERLY first few weeks of our marriage passed, we didn’t consider the
OTT honeymoon over, that we were settling down to taking one
another for granted.
“After six years, I still receive the same consideration from
Rory and he from me. Till this day he hurries to open doors
for me. Even at home, he seats me at the table before he sits
down and on mornings when my eyes have trouble opening,
he’ll say very softly, ‘Go ahead and sleep. I’ll get my own
breakfast.’
“Little things, perhaps, but far from insignificant. In
every way I know he’s saying, ‘You come first!’
Continued
l||
■i:
LOVE I I AS CHARMS
Continued,
46
“ Remember this one?” The memories go back more than six yean
“And I feel the same way about Rory,” says Lita
And the all-important charms? Sometimes the Cal
houns sit by the fire in the evening and Lita finds hersell
fingering the golden memories on her wrist. “Remembei
this one?” she’ll ask.
“I’ll say I do,” he grins. “The first . .
The first charm brings a laugh, for strangely enough
the Calhouns’ charmed life began with the tiny,
haired Isabelita Castro impatiently glaring at a clock.
Her Spanish temper was aroused and headed for the
ceiling with a great big whoosh. “Well!” she said.
“Well, what?” inquired her mother.
“Well, if that’s the kind of a man he is — -the sort
who makes a date and doesn’t bother to call when
he’s late . .
“Why see him again?” suggested her brother, who
is a great one for keeping a straight face when jesting.
“There are lots of other men on this earth.”
“Not like Rory. . . .” She stopped — the defense had
slipped out through her annoyance — and she began to
smile, with the rest of her family, who knew exactly
what she thought of the tall ex-forest ranger.
When the doorbell rang, all but Lita discreetly dis-
appeared into the kitchen, claiming a sudden longing
for many cups of coffee. Rory had arrived, with
apologies. “I’m sorry,” he said. “We worked late. Then
I had a stop to make. . . .”
“You might have phoned,” Lita pointed out.
“But you might have asked me where I was and what
I was doing,” Rory told her. ( Continued on page 8?)
47
Rita Cam is in “ Magic Fire”
There we were, sharing two rooms with laughs.
Forgetting to put the laundry out, going on a
mad diet of prunes! Who would have known
then what was going to happen to . . .
THAT GIRL KELLY AND
By Rita Gam
• “Why exactly,” a friend asked me, “are you and
Grace Kelly friends? What, besides your work, do
you have in common?”
“Oh,” I said, off the top of my head, “rocks.”
Then I went on to explain that when Grace was in
central Africa a couple of years ago on location with
Metro-Goldwyn-Mayer’s “Mogambo,” in which she
starred with Clark Gable and Ava Gardner, I was in
North Africa on location with “Saadia” for the same
studio, and unbeknown to each other we both brought
home trunks full of the incredible-looking stones,
veined with amethyst, that cover the African fields.
M-G-M paid a fortune in freight charges for the
“rocks” which now ornament our apartments, but we
couldn’t resist carting home these beautiful stones.
Rocks are not the only things, of course — firm
though they may be — that serve as a foundation for
our friendship. Careerwise, we have the same inter-
ests, many of the same problems, the same drive and
we are trying to make, I think, the same kind of life.
We both have extreme cases of wanderlust. Grace
was unhappy when she couldn’t go to Japan on lo-
cation with Paramount’s “Bridges at Toko-Ri,” but
was solaced to some extent when Bill Holden, who
did go, brought her back some stones! She was so
happy, on the other hand, when M-G-M’s “Green
Fire,” in which she co-stars with Stewart Granger,
took her to South America ( Continued on page 101)
Grace has wanderlust , is happy when her
films take her to other lands. Left, with
Bill Holden in “ Bridges at Toko-Ri”, above,
with Bing Crosby in “ Country Girl.” Right,
with Cary Grant in “ To Catch a Thief” far
right, with Stewart Granger in “Green Fire”
48
“Grace is the most home-and-
family-loving person I knout.”
Above, at premiere with broth-
er Jack, father John B. Kelly
“Because she doesn't go in for
exhibitionism, people say she’s
cold. She isn't cold — her feel-
ings are deep , not for show”
Ursula loves flying, is learning
to shoot, to go hunting with Bob
Now when Bob goes on those fish-
ing trips, his wife will go along
It was only a gypsy s prediction.
It could only happen
in fiction. Yet there it was
on Bob’s cuff links — the sign
that marked him her man!
When Ursula worked late. Bob
surprised her by cooking dinner
THEIR DATE
WITH DESTINY
50
Ursula Thiess Is
‘The Americano"; Bo
In "Many Rivers to
BY RUTH WATERBURY
• “The father-to-be is literally walking
>n clouds,” said Ursula Thiess Taylor.
Then she smiled, in a way you almost
lever see a Hollywood girl smile, her
dark green eyes touched with a gentle,
•tdoring humor, warming as an open
ire on a cold, rainy night.
As a matter of fact, her smile was
welcome on the lowering winter after-
loon when we were talking. We were
sitting in the little house which Ursula
lad rented almost two years ago when
he learned it was the type of small mod-
ern house that Bob Taylor preferred.
Now, like the solid embodiment of
romance come true, only a few blocks
away a rambling, very modem farm-
house was going up, the home of the
new Mr. and Mrs. Robert Taylor.
The color came up into her cheeks.
“Isn’t it a lovely place?” she asked.
I agreed it was. I could not help re-
membering a year back when Ursula
found her first little house. Not many
people in Hollywood knew her then,
this tall, incredibly beautiful, delicately
reserved girl. But I was lucky enough
to have met her, being a friend of her
closest friends, the Ernest Hallers.
She was aglow with love even then.
Not that she mentioned it. She is never
much given to talk, anyway, though she
is a prodigious reader, a lover of music,
a gourmet. But anyone who has ever
known devotion would have known at
a glance that she was in love.
When she rented the little house on
her tiny RKO salary, it meant she had
to give up ( Continued on page 96)
J
Eleanor met third husband Paul Clemens
when he painted her portrait. “She had none of
the usual, easy patter. What she said made sense"
Recently son Richard cried when she tried ti
kiss him, in make-up. He didn’t recognize her
Other children are daughters Sharon and Susar,
Directors mistake her for
somebody else, even her children
are sometimes confused
by Eleanor Parker, the girl
nobody really knows
BY
XIYA.TT DOWKTIKT&
52
Eleanor Parker is currently in “Many Rivers to Cross’’
• Not long ago, Eleanor Parker attended a small
dinner party and while entering the room passed the
famous William Wyler, who had directed her in one
of her most important pictures, “Detective Story.”
Smiling up at him, she greeted him warmly, “Hello,
Willie, how are you?”
Wyler gave her a startled who-are-you? look, nodded
coolly and turned away.
Ten minutes later, after evidently having made in-
quiries, he was back, contrite and chagrined. “What
have you done to yourself, Eleanor?” he begged. “I
didn’t know you!”
“Just a different hair-do,” she laughed. “But don’t
let it bother you. It happens all the time.”
In 1951, while making “Scaramouche,” Eleanor
Oil painting in dressing room is by Paul. “She
was listening to arias for ‘Interrupted Melody.’’
The pose was interesting, so I sketched her ”
walked onto the set one day wearing a red wig. “Oh,
look at the swell foreign dish!” one of the members
of the cast exclaimed. “She’d be wonderful for the
lead in this picture. I bet she’s got a terrific accent.”
Again in a make-up test for the role of Madame
Butterfly in her current picture, “Interrupted Melody,”
not a single member of the cast recognized her.
“I don’t think I have a particularly distinctive face,”
she said. “Girls with high cheek bones, or full-lipped,
expressive mouths or even a strongly defined nose are
more likely to be remembered or recognized at a
casual meeting. I’ve normally brownish-red hair, but
just let them change its color for a new picture and I
become a stranger to my closest friends. One day I was
sitting in Chasen’s, waiting (Continued on page 107)
53
I
I first met him on the telephone — an introduction
that took me to Mexico and into an adventure
that was to be the beginning of my friendship
with John Wayne • by robert stack
Mexicans and Duke are “simpa-
tico” — but Bob, above with John,
wasn’t so sure the bulls were
when he took to the ring to test
for “ Bullfighter and the Lady ”
• The first time I spoke to John Wayne, I didn’t know whom I
was talking to — and didn’t care. It was 5:30 a.m. when the tele-
phone rang and some very funny comedian asked if I wanted to
go to Mexico City for a week.
“Oh, sure,” I said and hung up.
Six hours later I discovered that the “very funny comedian”
had been John Wayne. That was when Duke knocked at the door
and asked why in blazes I wasn’t ready. I said something about
a missing sock, closed the bedroom door, emptied half a dresser
drawer into a suitcase and was on my way to Mexico.
Wayne, director Budd Boetticher and two men from the location
crew were on their way to scout locations for “The Bullfighter and
the Lady.” This was Duke’s first production. He wasn’t going to
play in it himself so I spent the ride thinking up several dozen
good reasons why I should get the part of the Brooklyn boy
turned bullfighter. ( Continued on page 104)
Brando's madness had the studio press hunting in pet shops!
Marlon Brando is In ”D6sir6e" and "Guys and Dolls”; Doris Day, In
"Young at Heart”; Jan Sterling, In "Women's Prison”; Paul Douglas,
In “Green Fire”; Ann Miller, In “Hit the Deck”; Jane Powell, In “Hit
the Deck"
Fifty fruit cakes molded — Mom smol-
dered because of this Day’s dreaming!
Jan Sterling and Paul Douglas: The low
rent fooled this pair of April foolers
Friends never know what to expect when
Ann Miller pops into the conversation!
Proving the unexpected can always be expected — of anyone who’s born in April !
Jane Powell and Pat Nerney: The bride got lost on her wedding day
BY SHEILAH GRAHAM
• Aries’ children have great vitality and physical
energy and a great love of independence. I wasn’t
surprised to discover that Doris Day is an Aries
child, but I was as surprised as Doris to learn that
she was born on the same April day — the third — as
Marlon Brando. At first, second and third glance,
Doris and Marlon seem to have nothing in common,
although they’ve both achieved the dubious honor of
collecting sour apples from the Hollywood Women’s
Press Club. Doris, however, seems to be a serious
down-to-earth young woman, without any pixie-
ishness in her soul. As for Marlon, I sometimes
wonder if he even has a soul; he puts such a high
picket fence around it.
But the stars don’t lie — in the heavens, I mean —
for they say that Aries should beware of carrying
their spirit of independence too far — into egocen-
tricity — or attempting to be original and ending up
only being novel. Words of wisdom for Marlon?
Maybe. And certainly it’s true — the planet that gave
the light of Day to Doris and Brando gave them
an equal measure of harum-scarum April foolish-
ness— and forgetfulness.
Like when Doris put fifty fruit-and-nut cakes in
the back of her car to deliver as Christmas gifts.
This is a perennial Yuletide gift from her mother to
their friends. Three months later, they were driving
to church on Easter, when her mother, to make
conversation more than anything else, said casually,
“It’s funny, Doris, but no one told me they liked my
Christmas cake this year. I waited for someone
to call, but no one has.” The blond turned red,
Continued
Celeste Holm had fun with a banquet scene
— and the rest of the cast had indigestion
Gregory Peck: His dinner got cold while hi
got hot playing an April prank on his boy.
Gregory Peck is in “The Purple Plain”
and “Moby Dick”; Spencer Tracy, in
"Bad Day at Black Rock”; Clark Gable,
in “Soldier of Fortune”; Debbie Reyn-
olds, in “Hit the Deck”
mutt ufli am; Dots m jo
Continued
struck her head and screamed. While
her bewildered mother watched, Doris
stopped the car, ran to the trunk and
opened up the back. Fifty very moldy
fruit cakes stared reproachfully up at
her!
There was the time, too, when Doris
was driving with her husband Marty
Melcher, and he was talking very seri-
ously about her career. She was staring
out of the window and in the middle of
some facts and figures on boxoffice
grosses, Doris dreamily said, “Yes, but
what color are we going to have for the
dining-room draperies?” No wonder
her mother calls her Miss Priscilla
Pre-occupied.
Everyone has heard about Mr. Bran-
do’s famous raccoon. When Marlon
was in Chicago to promote one of his
pictures, the local exhibitors and stu-
dio press agents begged and begged
him to tell them what they could do to
make his stay more pleasant.
“You really want to help me?” Mar-
lon asked.
“Oh yes, oh yes,” they told him.
“There’s only one thing I want,” said
the “different” actor.
“Name it and it’s yours,” they cho-
rused.
“Get a mate for my raccoon,” Bran-
do requested.
Pm not surprised at all that Paul
Douglas and Jan Sterling — she was
born April 3; he, April 11 — are so con-
genial. They both have the same crazy
sense of humor. When someone asked
Jan recently, “Does Paul have any hoi
bies?” she replied, “He certainly doe:
Getting married. I’m his fifth, yo
know.”
The stars say Jan and Paul are tyj
ical Aries who bubble over with
much life and energy that it’s ofte
difficult to curb them and hold thei
within the limits of safety or commo
sense. Now take their house. Short!
after Paul and Jan married, they calle
me very excitedly to tell of the ne
home they had rented. “There are se<
enteen rooms,” said Paul.
“The swimming pool is half a mil
long,” added Jan.
“But how much is it?” said the ver
practical I.
“That’s the best part of it,” sai
58
Clark Gable lost his footing and gained a
croton as a result of a Spencer Tracy gag
Debbie Reynolds’ impish prank had Russ
Tamblyn combing her poodle out of his hair
Paul. “We’re getting it for nothing —
practically.”
Three months later, Jan and Paul
were munching miserably at Chasen’s.
“How’s the new house?” I asked
brightly.
“It isn’t,” replied Jan morosely.
“You see,” said Paul, “the rent was
cheap, but we needed ten servants to
run the place and they cost us $2,000 a
month.”
“That was bad enough,” interrupted
Jan. “But there were so many rooms
that whenever I wanted to talk to Paul
I had to send out a search party.”
Janie Powell, too, was born in April
—the 1st — and has a sense of humor
with a touch of April Fool zaniness all
mixed up with (Continued on page 79)
I
I
With parents, on “Broken Lance ” set. Bob is gay-
er, more relaxed and fun-loving when he’s with his
family, has always preferred being with people
older than himself. Below, with Spencer - Tracy
Bob Wagner is in “White Feather”
Bob . with family cook , left, was loved but never
coddled, had to work for things he wanted. Match-
ing money he earned proved to be costly for Dad!
Wk
Two people influenced Bob
Wagner, gave him strength for
the years ahead. Because of
them life will never defeat him
• Today, Bob Wagner is a man in
his own right, the hottest young male
star on the 20th Century-Fox roster
and an idol of a million teenagers.
His studio has invested fortunes in his
pictures; his fan mail averages thou-
sands of letters each week. He is a
success, a Big Name, a power at the
boxoffice.
To understand Bob’s success, you
must return to the place he calls
home. Not to the small two-bedroom
apartment that the studio only recent-
ly got for him, but to his parents’
home in La Jolla. And to understand
Bob you must also meet his parents.
“One thing I’ve noticed about
Bob,” remarked a close friend at his
studio, “is how much more at home
he feels when his father and mother
are around. He seems gayer, more re-
laxed, more fun-loving. I remember
once, when we were on location in
Arizona for ‘Broken Lance,’ Bob got
word that his father and mother were
coming down to spend a week. Until
they arrived he was like a race horse
champing at the bit. I said something
about how eager he must be to see his
folks again. ‘Well,’ Bob dissembled,
lest I see how deeply he felt, ‘Dad
just got a new Cadillac, and I’m sort
of anxious ( Continued on page 90)
BY MAXINE BLOCK
60
Monroe, the model. Small parts in
movies followed. Then, “ All About Eve,”
changed her appearance — and her career
In Hollywood she found a staunch friend,
Sidney Skolsky. “A lonely little girl,”
he said, “wanting people to like her”
She shunned night clubs for night school.
“Gentlemen Prefer Blondes,” earned her
a place in Grauman’s famed cement court
blind date — and Marilyn had found her
an. Marriage to Joe DiMaggio opened
)or to secure, happy life she craved
But the door slammed shut. And Monroe
was alone again. Joe and Marilyn were
divorced. Only her career remained
But her career soared. And when “Seven
Year Itch,” above, was finished, Holly-
wood paid tribute to its brightest star
en years
of
onroe
At a party, Marilyn announces there’ll be a new Monroe, plans to
produce own films, do dramatic roles. Above, with Clifton IFebb
John Derek la In " Prince of Playert ” and "Run tor Cover"
The
Big1 Gamble
So much in love, they
Today, John and Pad Derek know that what they have
together — their rambling redwood ranch house in Encino,
their son Russ and small daughter Sean — are worth all the
fears and heartaches and sacrifices of the last six years
fought. So much in tune,
they had courage to
fight against all odds for
the future they needed
• Don’t tell John Derek the best things in life are free. And don’t
tell his wife Pati either. The best things in life, they know today,
you pay for. And the price can come very high. And you may
pay with your heart.
You pay in dreams, still unfulfilled — which may never be ful-
filled. You pay in tears — more tears than it seems possible for you
to cry. In dollars — and the worry about dollars that won’t quite
stretch around. You pay in words — fighting words — that can never
quite be taken hack. You pay in freedom. And in fear — watching a
little boy’s face as the color comes and goes again and again.
Today John Derek, the handsome dashing motion-picture actor
who lives in the deeper San Fernando Valley, turns a deaf ear to
Continued
65
BY
MAXINE ARNOLD
The Big* Gamble Continued
adventure and limits his travels to trips
to the hardware store.
Today pretty and talented Pati Behrs
Derek is content to forego the spotlight
and the sweet sound of applause and live
the life she and John have learned to
value together. They both know that it’s
worth sacrificing for, and fighting for and
— whatever the handicaps — worth hanging
onto.
As John says meaningfully, “When
you’ve seen your kid die — and live again
— and die and live, you look at him. And
you see him. Really see him. You don’t
take him for granted. Not one day. Not
one hour. You take a close look — tomor-
row he may not be there. Other married
couples go to a window and say, ‘Isn’t he
cute’ — and count to see if his toes are all
there. But they don’t really see him. When
you’re holding him and he turns dark blue
and starts to choke — you see him. He may
not be around the next time. It gives you
a better appreciation of what you have.
And, believe me, you take a good long
look . . .”
Pati and John really cherish their chil-
dren and their home. And why not? Pati
was a refugee from war — always on the
run. John as a boy was caught between
parents— and between military schools. Too
many military schools. When, like John,
you’ve never had a solid steady home to
depend on, you take a good close look at
the rambling ranch house in Encino you
finally call your own.
And when you’ve never belonged to
anybody, you love the closeness and be-
longing of marriage. If your name is Pati,
you take a good look at this restless ad-
venturer, this mad impractical man who is
your husband and who, despite his infuri-
ating moments, loves you very, very much.
If you are John — and you have been lonely
too many of your twenty-eight years —
you look at this pretty, pert, practical and
equally infuriating little package — whose
warmth and spirit and fire and loyalty and
love matches your own. A girl who will
never let you be lonely again. You look
at each other. Really look, and you know
what you’ve found finally — together. And
you know no matter how stormy the
weather you’ll hang on.
They’re Hollywood’s strongest, and fre-
quently stormiest love story — John and
Pati Derek. And theirs is a story that
began with a gamble.
Outside that chapel in Las Vegas six
years ago, the “strip” glittered and beck-
oned. Wary-eyed croupiers called the last
throw and turned the next card.
Inside the chapel two beautiful people
with dreams diluted by disillusionment
were gambling for higher stakes. The rest
of their lives together. Against odds great-
er than even they could know.
They couldn’t know then, promising to
take each other for better and for worse,
for richer and for poorer, in sickness and
in health, they would be challenged all
the way, that they would have an over-
whelming lot of happiness and along with
it tribulations, too.
Even if they had known, together they
would still have defied Fate to turn her
next challenging card. Challenge, in what-
ever form, had long been, to each of them,
both friend and enemy.
Each was born to a plush heritage. The
bride with the piquant face and doe-
brown eyes was a Georgian princess whose
family was forced to flee to Turkey when
their estates were taken over by the Com-
munists. As a child she worked in pictures
in France. At thirteen she was dancing in
a French cafe. Her twinkling feet were
star-bound with the ballet. When 20th
Century-Fox discovered her and sent her
to Hollywood, Pati Behrs was determined
to make a name and an identity for her-
self in this new land. Then she met a
handsome lad whose heritage and deter-
mination in many ways matched her own.
Nor was war a stranger to him. A para-
trooper just back from combat duty in
the Philippines — and from occupying Japan
following the atom bomb — he was sober
beyond his twenty-one years.
Derek Harris was bom into a kingdom
of celluloid. The plush Hollywood of the
24-carat scrapbooks and white Russian
wolfhounds strolling Sunset Boulevard. His
mother, a beautiful actress of the silent
screen; his father, a promoter-producer-
actor. He grew up alternately in luxury
and comparative poverty. Home was a cot-
tage or a mansion in the Riviera Estates.
One year he might have a thoroughbred
horse of his own and a chauffeur to drive
him to school. Another year, the mansion
and horse were gone. But most important,
his family was gone. He began growing
up at the age of five, when a child’s safe
warm world collapsed around him. His
parents separated and a sensitive emotion-
al kid was tom between the two.
As he grew older, Derek’s dream, like
Pati’s, was to make a name and an iden-
tity for himself which would last. Holly-
wood was his home town. Its blazing
marquees and lights arcing the skies were
as familiar to him as the streetlight on
the corner of any small-town square. But
he grew up expecting no magic from the
make-believe. He’d seen too many hopeful
citizens come and go. Nor had he known
any roots here. Nor security. He was ever
on the run, until one day when he opened
a door on the studio lot and met a lovely
girl in a green corduroy suit. A girl both
enchanting and earthy. A girl of character
and decision. No frills, no fuss, no giggles.
A girl who turned down his first proposal
— until they knew each other better — then
when another seemed too long forthcom-
ing said frankly, “I think it’s time to ask
me again.” '
John Derek became a star overnight in
“Knock on Any Door,” and this opened
the door to their future, to marriage, a
family, and the first real home either he
or his wife had ever known. But they
had long ago learned, John and Pati, that
in this life you open your own doors. And
they continued their search for security
hand in hand.
During the six full years since, Fate’s
thrown her whole book at them. Challenge
and situations have faced them which
would have defeated two less in love or
less strong.
Theirs have been the constant clashes
of two strong wills and trigger-tempera-
ments, of two who have finally made an
identity and are dedicated to preserving
that identity. Almost overnight John was
the screen heartbreaker and a popular
boxoffice star. Almost overnight a lo\
girl, who was also star-bound, '
dredged in domesticity. Half of Pati’s id
tity merged with John’s.
These have been frustrating years
John. He had a feverish dedication to
the actor he felt he could be. There '
Pati’s illness during her first pregnar
months when she was confined to l
John, all thumbs, helped keep the hor
stead running. There were bills. And in
bills. As he says, “Money means nothin)
me.”
There was the near-tragedy of tl
first-born. The strain they’ve shared
months and years helping their boy l
onto life. Of sleeping, eating, living m
one eye ever upon him, lest he still
away.
There was the year and a half w
John didn’t work before the cameras. T
John’s decision to freelance realized a
life’s worst timing — with little money
the bank and another baby on the m
“I’d beefed so much about getting :
from the studio, I couldn’t say, ‘L<
fellows, let’s wait just a little longer noi
John says.
But theirs is a marriage with must
Life has never been lukewarm for ei'
of them. Nor would they like it lukewE
On occasion their marriage has been a f
vival of the fightingest. But strength 1
each demand. Weakness neither c<
stomach or understand. They match — v
for word, spirit for spirit, sind heart
heart.
Theirs, too, is a shared honesty of e
tion which each preserves conscientioi
A writer arrived at the new Di;
hacienda recently to do a tender
tranquil story on the John Dereks
found them in the midst of a dom<
impasse. Their baby, Sean, was cryin
rebellion against the two-o’clock nap. ]
was hammering and playing carpenter,
traffic was thick with other carpen
also painters and plumbers. John had
invited Pati to “furnish the house y
self, then.” To sirrive at any decision
said, was better than no decision at
Although whose decision was still in d<
They sat there, weary and wary. Pa
a yellow sweater, blue jeans and tf
shoes was curled up in one comer of
room. John, with his feet crossed anc
shirttail out for comfort, in another. !
eyed vigilantly the space in front of
copper fireplace where a disputed c
table would go or not go. John had
signed a spectacular four-foot glass t
with the wagon wheel of an old pri
schooner for the base. Pati argued
when the children fell over the t
the metal base would be harder than v
“But it’s not a sharp edge, it’s a rou1
edge. Besides, we can’t pad the v 3
house!”
“You can cover the wheel with
hide.”
“Rawhide! That’s just as hard. And i
didn’t use rawhide on wagon whee
that time.”
More silence. Finsilly the writer g
a question. “About their . romance- 0"
did they fall in love?”
“She didn’t giggle. That was the sai
all the girls were giggling. Now she ig-
gles.” John glared ( Continued on pag »
xjs
r* ! 4
PHOTOPLAY STAR
CALIFORNIA-CREATED SUNSHINE FASHIONS
from the workrooms of famous designers, now cross-country
■ ' • ' '
favorites and each a winner of the coveted
Photoplay Star Fashion Award
Ursula Thiess is starring in RKO's " The Americano" • Look for another exciting new RKO Technicolor production , "The Conqueror"
MEMO 10 OUR READERS:
The first of a series of new fashions distin-
guished by the fresh styling and sun-drenched colors
of our golden West. Ursula Thiess' playable sepa-
rates feature a tucked front blouse, $7.95, mated by
its wide self belt to a skirt massed with un-
pressed'pleats, $10.95. Both 7-15, in Silkalene,
a lustrous and sudsable cotton-nylon blend. These,
in sunny colors, by Junior Miss of California
67
CALIFORNIA SUNSHINE
See these clothes at your favorite theatre in PHOTOPLAY ' s specie/
f oshion film made by RKO. producers of "The Conqueror”
Worn, left, by Lisa for fun in the sun —
California Cobblers' Strip Toes, free-
dom-loving thong sandals in glove-
soft delectable colored leathers. $4.95
AM Baba, a gay print-lined shoe with ;
a touch of the East in its curlicue- >1
peaked vamp. Light, flexible colored
leathers. California Cobblers. $7.95
All fashion photographs in this section by Christa
Far left, Lisa Montel lives in fashions
that reflect the creative spirit of our
fun-loving Pacific coast. These sep-
arates by Saba of California have the
flavor of the South Seas in richly col-
ored Balinese print cotton pants with
an, oh, so sleek look. Wrap-around
twist waist is finished with little golden
bells. Under $8. Balinese shirt has
mandarin collar, easy shoulder and
sleeve. In the pink, yellow, or blue
of the print. About $6. Both 7-15
Photographed in its natural California
habitat, and near the designer's
drawing board, Lisa wears, left, the
lovely crease-resistant Balinese print
cotton fashioned into a dress with
bias bodice draping exotically over
one shoulder. Four-yard sweep skirt
of unpressed pleats is cinched by
wide self belt. In same sumptuous
I South Sea colors. Sizes 7-15. By Saba
'! of California. About $12.95. Look for
Lisa in RKO's "Escape to Burma”
FASHIONS
Fashion verve from the roaring 20's,
California Cobblers' Flapper shoe, a
flattering soft leather flat with fly-
weight sole, removable strap. $8.95
Continued
FANCY YOURSELF A MERMAID. IMAGINE YOURSELF A SPRITE. , .THEN
COME MATCH YOUR MOOD TO "MARDI GRAS" ! ITS INNER WORKINGS
Really re-shape you ... smoothing and lifting, camouflaging
WHERE YOU NEED IT MOST! AND THROUGH THE WONDERS OF WARSHFAST,
AN OUTER MIRACLE TOO: COLORS WITH LASTING RADIANCE. FAST TO
SALT. FRESH OR CHLORINATED WATER. AND SUPERBLY RESISTANT TO
THE SUN! ASK FOR "MARDI GRAS." 19,95. FOR STORE NEAREST YOU.
WRITE: ROSE MARIE REID. DEPT. PA. LOS ANGELES 45, CALIFORNIA
69
CALIFORNIA SUNSHINE FASHION!
Barbara Dorrow, ri sing young starlet of RKO Slu
producers of the stirring new him, "The Congo
For
Where to Buy these fashions
turn to page §2
Glamorous Barbara Darrow in a favor-
ite sunny fashion. Bright striped cotton
jersey Boater shirt, all ease and
long on flair. S, M, L. $2.98
Brief lantern leg shorts are indestrui'
cotton gabardine, with adjustable i
zipped back. White and a gala;j
colors. 10-16. $2.98. Both by Cal )
Conti
70
Connies
• • •
72
ur dream come true ! A
California casual truly
petite junior
all
clouds” in this
button shirt
gadabout. Easy to rinse out
as your nylons— in Silkaline,
a blend of pima cotton
and nylon with a lasting
sheen. Yummy colors: turquoise,
pink, orange sherbet and
5 to 15.
price ... .
just $16.95
FOR THE NAME OF A FINE STORE
NEAR YOU . . . WRITE DEPT. P.
JUNIOR MISS OF CALIFORNIA 910 S. LOS ANGELES ST., LOS ANGELES 15. CAUIF.
You’ll have the world at your feet
in
Winging its way into your
sun-fun days ahead, a shoe
that’s light as a whisper,
provocative as a wink!
"Pegasus” pampers you with
the sheer luxury of buttery
soft, care-free Aniline
leather, cradles your whole
foot on a plump cushion of
foam. Yours in a
spectacular array of
spring's newest hues at
fine stores ’most
everywhere. Piggy-bank
priced at about seven dollars.
CALIF. MADE
IN CANADA BY CANADA WEST SHOE MFG. CO., WINNIPEG;
IN AUSTRALIA BY C- J. BRAUN PTY. LTD., SYDNEY
For
Where to Buy these fashions
turn to page 82
CALIFORNIA
SUNSHINE FASHION
continued
Lori Nelson wears the very 1955 long
torso look, sailtone bodice accented with
low crushed belt and pleated striped
dimity skirt. Navy or turquoise. 8-16,
9-17. Jeannette Alexander. $22.95. Lori's
in RKO's "Underwater!" Below, Mala
Powers of U-I's "The Yellow Mountain,"
shines in separates with a Midas touch.
Sleek cotton pants are all-over scrolled
in gold or silver. $13. Same glitter trims
pastel shirt. $11. 10-16. By Georgia Kay
Continued
HOW TO FEEL LIKE A MILLIONAIRESS
Take ‘Action’... it will spoil you, my pet, for any other bra. Scads of Lastex,
stretching every which way.. .in the band, sides, back, even under the straps
give you a lively life of ease. And stitched cups subtly define your new, higher,
rounder, Lovable look! Pamper yourself... take ‘Action’, $2.50.
IT COSTS SO LITTLE TO LOOK LOVABLE
ever you like to shop, or write department P4, The Lovable Brassiere Company • 180 Madison Avenue • New York 16 Also in Canada
For Where fo Buy these fashions turn to page 82
Ursula Thiess, famous star of RKO, producers
of " The Conqueror,” new film in Technicolor
CALIFORNIA
SUNSHINE
FASHIONS
continued
The straight and narrow look, a hit in
Paris, has been adapted by our tal-
ented California designers in suits like
this, left. A casual, relaxed silhouette,
it features a supple, easy jacket with
flat breast pockets and a banded
bottom for hipline slimness. Fabric is
a divine tweedy-textured block plaid
in a blend of linen and cotton. Navy,
gray, pecan. 8-18. Under $50. Tai-
lored in California by Rosenblum
The height of fashion in a suit reflect-
ing the charm of the spring 1955 sea-
son. Mala Powers, right, wears the
molded silhouette sparked with hand-
cut rhinestone buttons. The fine ribbed
worsted in skipper blue is highlighted
by a red and white wing lapel insert
design and white-touched diagonally
placed pockets. Sizes 8-18, especially
cut for the diminutive figure. By Lilli
Annette of California. Under $70
Continued
for the FRENCH look with the AMERICAN accent
BUT YES! the new look is all the rage . .
and don't wait, rush . . . to see Hollywood
Maxwell’s answer to it! Here is the high-
bosom, softly rounded look m a bra
that gives you an added lift, new comfort
with a lace topped 3/<i cup that’s
underscored with supple padded
wire. It’s another fashion scoop
for Holly wood-Maxwell,
ijj j|| the wonderful wizard of
bras, maker of those
famous Whirlpool bras!
White nylon, 3.95. ABC cups.
HOLLYWOOD-MAXWELL COMPANY • DEPT. P4-5
6773 HOLLYWOOD BLVD. • HOLLYWOOD 28, CALIFORNIA
HOLLYWOOD ■ NEW YORK • CHICAGO
HOLLYWOOD-MAXWELL OF CANADA. LTD., BELLEVILLE. ONTARIO
Write the Wonderful Wizard of Bras for your free copy of “Between Us Girls,
/
t
,
74
v*r
follow
the Sun
with
OF CALIFORNIA
Exotic a A the jJeiveU o/ a Khan... Cool and lovely
as the melody of Gamelan Bells... The BAUHESI Group by Saba!
Junior Playdothes of sanforized, vat-dyed,
combed cotton. Ours alone the exotic print...
the pulsating colors of the Far East.
Right: Full Skirt — Halter Top.
Left-. Fitted Shorts — Camisole Top.
Not Shown: One-shoulder Dress — Balinese Pants
All prints in combinations of Sapphire —
Turquoise — Amethyst; Citrine — Topaz — Jade;
Rose quartz — Carnelian — Amethyst;
combined with solid colors of Sunset Pink,
Sky Blue, and Citron Yellow.
Sizes 7-15. At Better Stores Everywhere.
Write for name of Saba Store in your locality.
SABA OF CALIFORNIA, 860 LOS ANGELES STREET, LOS ANGELES, CALIFORNIA • 318 WEST ADAMS, ROOM 1608, CHICAGO, ILLINOIS
75
•i
I
CALIFORNIA SUNSHINE
FASHIONS continued
California to a "T" and ready to
sweep the country, a delightfully fresh
new balloon print cotton in carnival
colors, worn, left, by Mala Powers.
Contrast rickrack trims the flattering
scooped neck and full flared skirt, its
waistline pared to a minimum by
velveteen belt. Under $15. Above,
the beloved shirtwaist dress, all
rage and worn by Ursula Thiess
silkened cotton and nylon bl
Tailored to perfection with pus
sleeves, convertible collar, and k
fant skirt with its own petticoci
Mauve, blue, champagne. Under
8-18, 7-15. Both by California
76
PHOTOPLAY
STYLES
For name of nearest store,
write:
DREAM STEP
35 N. Fourth St., Columbus, Ohio
$2.99 to $6.99
Beautiful Dream Step Shoes are the
choice of the stars. Dramatically
styled for every occasion ... in gleaming
leathers and supple suedes . . .
Dream Step Shoes and Dream Step Teens
add fashion excitement to
every step. You’ll love their
thrifty price, too!
starring in
“VERA CRUZ”
SuperScope, Color by Technicolor
Released thru United Artists
A Hecht-Lancaster Production
For
Where to Buy these fashions
turn to page 82
Rain it will, but like Mala Powers,
look your most glamorous in a coaf
n' hood of light Krene plastic. Silk-
screened cloud design on skirt twinkles
with rhinestone stars. The corded
hemline insures a standout look. Clear,
red, blue. California Slikerette. $10.95.
Her boots, Rain Dears by Lucky.
Continued
Mala Powers is in “Seven Bod Men" by RKO,
producers of exciting film, " The Conqueror”
“You mean this bra
adds without pads?”
We mean fabulous Tres Secrete lets Mother Nature herself improve upon
your bosom. For with inflatable Tres Secrete, you use glamorous air to
achieve the bosom curve you’ve always dreamed of having. No more
fit-or-don’t-fit padded bras. Tres Secrete comes pre-inflated and ready to
wear, but you can adjust it to your own figure . . . and to different fractions
of fullness for different dresses, sweaters and blouses.
Easy to adjust? Like breathing! No fuss, no gadgets. And only Tres Secrete
gives you the softly-rounded, young, high bosom that’s so current and
Parisian. Just see what a light, lovely thing it is to wear. You’ll feel at
ease with the world . . . knowing no one could guess the secret of this most
natural of bras!
Adjustable Tres Secrete is available in pretty
nylon or cotton styles from 2.95. For the store
nearest you, selling Tres Secrete, just drop us a
line. At the same time ask for your FREE copy
of Babs Smith’s wonderfully informative booklet,
“What’s Missing In Your Life?” Write to Dept.
P-4, La Resista Corset Co., Bridgeport, Conn.
(the very secret bra)
77
CALIFORNIA
SUNSHINE
FASHIONS
continued
Look for lovely Borbaro Darrow in new films by RKO, makers of “ The Conqueror ”
* T
California swimwear shines from lake to pool cross-
country, and one reason why is Rose Marie Reid's
"Bubbling Over," above, in elasticized bengaline, polka-
dotted within an inch of its life. Barbara Darrow wears
the figure-hugging swimsuit with contrast bra insert.
Flange bra adds or detracts, whichever you need. Brown,
deep pink, navy, aqua with white. 9-15. $19.95
For the best figure you ever dreamed of, a shirred-back
sheath in crease-resistant cotton broadcloth worn, left,
by Barbara. "Mad Mittens" conversation fun print is
rampant with mittens and gloves. Contrast-piped flange
trims a contour bra. Detachable straps. Lilac with lime,
royal with green. 9-15. By Rose Marie Reid. $11.95. Bar-
bara's waterproof Swimcap of the Stars by Playtex
Where to Buy these fashions
turn to page 82
Fashion starts with the shape beneath, and here's an
undercover fashion that insures an up-to-the-minute sil-
houette. Heavenly long-line strapless bra with foam
rubber booster padding in the stitched cups for a new
high bosom. Nylon elastic panels, gentle boning mold the
long slim line. Detachable garters. White or black lined
nylon lace. 32-38, B-C cups. Hollywood-Maxwell. $12.50
Funny, What April Fools Will Do
( Continued, from page 59)
propriety. Janie thought the police-
i was playing a joke when he stopped
car on the way to the church to marry
Nemey and said, “You’re speeding.”
inie smiled her sweetest smile and told
officer, “I’m on my way to be married.”
lie policeman looked at her licenses —
[ding and driver’s — smiled just as
etly and handed her a ticket,
ut Janie knew it as a joke when the
best man, who was supposed to pick
up and take her to the church, went
e without Jane and when the frantic
egroom asked, “Where’s Janie?” the
man groaned, “Oh, I forgot about her.”
tid it was Jane’s turn to forget when
left the lonely matching coat for her
ty Helen Rose-designed wedding
s at home. Janie remembered the coat
ie reception and insisted on going back
it, then wore the coat for the rest of
evening!
jwas showering in April when Howard
1 bawled his first song on earth,
ard tells me he hates all forms of prac-
jokes. But it was different when
tarted life as a struggling short-order
. He flipped flapjacks into customers’
with the greatest of ease. Of course
:ould have slipped on a flap — as he
fined to the boss. Today, he still re-
a bit of the old whimsy. How about
taming his two children with a K for
— Kaiya and Kristine. But he wants
reak the daisy chain and get a boy
time (in the spring tra la),
e first ambition of the Aries is to be
A professional competitor, his object
it the material gain so much as the
He’s always one step ahead of
rone else; has the first word, often
ast, too, in any argument and fre-
tly wins by sheer vim and vigor. A
Aries, Debbie Reynolds made her
appearance on earth on April 1st, and
r friends will confirm, Debbie is the
iir and delight of all who know her.
never know what she will say. I was
when Russ Tamblyn asked if she
i comb he could borrow,
rer there,” said Debbie,
ing it back, Rusty said, “Thanks for
se of the comb, Debbie.”
it at all,” said Deb. “That’s the one
for my French poodle.”
ce Kelly does the next best thing to
on April child. She rooms with one,
Gam, when they are both in Holly-
And what fun these femmes have,
they answer the phone, each prank-
iretends to be the other, makes ap-
nents, cancels dates and makes for
r madness all down the line. Rita
:onfessed to me that she used to be
of telephones. She’d always get
s-tied when offered a job. Not now.
lakes big entrances at parties, then
lored and is the first to leave. She
s to learn to drive a car. Hates
work, but doesn’t love orchids. And
s all forms of outdoor sports. I’m
ire what she means, but Rita who
nostly in the East, claims that Hol-
i has given her a split personality,
aus and ardent in all they undertake
it the stars say about April’s chil-
They cannot go into anything half-
aly and, therefore, if they once de-
upon a cause — social, political, re-
they’ll work for that cause with
p. vim and vigor of their energetic
s. Sounds like Bill Holden, doesn’t
ill was born April the' 17th. I re-
cast year when Bill won the Oscar
talag 17.” There was a party for
t Chasen’s later. He was embar-
to flaunt his Oscar so his wife
1 Marshall, who wasn’t, carried it
under her fur coat. Later when Bill and
Brenda drove happily home in their
brand-new Cadillac and Bill could show
his ecstaticism, he whirled into his drive-
way on a one finger turn and smashed
that beautiful car on a square, very square,
cement post.
Gregory Peck chalks up thirty -nine j
years on the fifth of April. This charming
sprite in male clothing betrays a terrific
sense of humor with his eyes. But he’s
been too busy nowadays for foolish
pranks. And he has been so rushed in the
past two years — filming in Rome, Ceylon
and Britain — that even the children he
loves best in the world haven’t seen too
much of him. But they remember that
no matter how tired he was when he
came home from the studio, he was never
too exhausted to get on all fours and
make like a bear and play with them.
It’s said that when an Aries child be-
comes addicted to a particular habit, he’ll
throw all his energy into satisfying this
whim. Maybe this is the reason why
Spencer Tracy is called King of the Gags
and Prince of Procrastination. This prime
character, bom April 5, makes five thou-
sand reservations for every trip. He hates
the bother of packing and changes his
mind about leaving town a thousand
times. So all steamship and airline com-
panies know that 999 times out of a thou-
sand, Mr. Tracy will cancel.
It was Spence who pinned the “King”
tag on Clark Gable. One of the big pools
named Clark, “Monarch of the Movies.”
The next time Gable went to his dressing
room, he fell over a huge crown labeled
King — a gift from his best friend, Mr.
Tracy.
During the filming of “Broken Lance,”
Spencer kidded a lot with young Robert
Wagner who worshipped him. They were
discussing a role and Robert said, “Gee,
I’d like to do that, but I’m too young.”
“Listen kid,” said Spence, “by the time
we get through this film, you’ll be too old.”
And during a scene on location, director
Eddie Dmytryk asked Spencer to ride
over the hill into camera range. “That’s
a steep hill,” complained Spencer.
“Don’t you think you can do it?” the
director jeered.
“I’ll give it a try,” said Tracy hesitantly,
adding, “but it’s a very tricky ride.” The
cameras rolled and the horse appeared
over the hill, but the saddle was empty!
Dmytryk went white with fright. He
was afraid to think of what had happened
to his star, let alone the delay in produc-
tion. That is — until he saw Tracy coming
over the hill, bent over with laughter.
That’s what I call a scary joke — even for
an April fooler.
For those April foolers bom after the
20th of the month, their star sign is Taurus
and they’re reputed to be amicable and
kind, strong and determined and great
lovers of food — rich, heavy food. Perhaps
this had something to do with Celeste
Holm’s joke while working in “Carnival
in Rio.” The first scene called for a ban-
quet setting with real food. Heavy food.
Celeste, who was bom April 29, deliber-
ately blew her lines so that everyone at
the groaning board really groaned, trying
to get the food down, take after take.
Another food funny on the zany Celeste, j
She was eating spaghetti at an outdo.or
restaurant in the Farmers’ Market. A
stranger at the next table was also eating
the same delectable dish. When Celeste !
had cleaned her own plate, she calmly f
leaned across to the next table and swiped
a forkful of spaghetti from the very startled
luncheoner. And more to do with food.
When Celeste flies, passengers can’t be-
lieve their eyes when she joins the stew-
A ft*
hand-screened California 10
poppies glittering with r
a hundred rhinestones \V ’
make this krene plastic , <J,
slikerette as glamorous X.
as the stars who wear
them... fine tailoring and
expensive detailing ■ ■ ■ ),
pink, blue, clear with
white, sizes 8 to 18
22.95
For the store nearest you write
CALIFORNIA SLIKERETTE CO.
6566 Santa Monica Blvd.
Hollywood 38, Calif.
79
NEEDLE NEWS
7213
7213 — Match a new handbag to a dress.
Make several — this tote-bag is a jiffy style.
Pop everything into it. Directions for two
sizes, larger 10 x 12 inches.
7061 — Pop daughter into this adorable
shoulder-tie sundress. Sewing, easy — em-
broidery, a cinch. Children’s sizes 2, 4, 6,
8, 10. Tissue pattern, embroidery transfer.
State size.
fRON-ON COLOR DESIGNS
IN BLUE, GREEN, BROWN
7130 — Iron-on peacocks in combination of
bright blue, ocean green and brown. No
embroidery. Transfer of six washable de-
signs: two 7^4 x 3; four 4% x 7 inches.
764 — Rows of shell stitches — baby shells at
the waist grow bigger toward the hem.
Jiffy-crochet — it’s beginner-easy. Waist sizes
20-22; 24-26; 28-30 inches all included.
Matching stole, too.
754 — Inspired by priceless tablecloths one
hundred years old! This heirloom beauty
combines simple-to-memorize stitches in a
dramatic design. Tablecloth, 58 inches
square in heavy cotton.
ardess to serve lunch or dinner. <
convivial flyer asked her, “Has any
ever told you you’re the spitting imag
Celeste Holm?” “I’m not only her im
I’m her,” replied Holm.
Ann Miller, who’s one of them A
foolers, describes people who are bon
April as full of energy and fast think
But she says they are not as gay as pe<
think. It’s just that they put up a fu
front. I’d describe Ann as a very bubb
personality and very amusing. She t
ally says the first thing that pops into
mind. I’m reminded of when she
visiting wounded GI’s in a hospital. .
as she left them, beamed the mess
“Cheer up, better luck next time.”
when someone was discussing Fred
taire’s sister Adele, who married the
of the Duke of Devonshire, Ann was
that Adele lived in the very ancient
more Castle in Ireland. “When did
buy it?” she asked innocently.
There was, too, that party Ann gav
celebrate the engagement of Eddie Fi|
and Debbie Reynolds. Eddie was in
York, but that didn’t stop Annie,
rigged up a dummy to look like E< 1
pinned this note to his lapel — “It w;
rough trip honey, but I made it.”
Corinne Calvet comes under the
of Taurus, having been bom the 30t
April. And like a true Taurian, Cori
has a deep sense of loyalty and a s|
with-it attitude. Most Taurians are st i
and determined and will set up a goal
themselves, working with patience and •
sistence until they make a success of i<
Take, for instance, Corinne’s persist* i
When the Chicago Chamber of Comm;
bet the Los Angeles Chamber of C l
merce that a block of ice would melt f;l
in Chicago than in L.A., Corinne went i
action and, because we had one of i
unusually cold days, sat on the ice to £
it, so saving the honor of her adopted I
Bette Davis is an example Aries, fl
ing the qualities of individualism and jlir
tism which can make a creative geni
for the mind is keen when it is well
ciplined. She also has the Aries al
to dominate those around, with a fine c
ageous spirit that’s confident and the
of strength.
Bette was born forty-seven years
April 5, 1908. And in Bette all the
beat characteristics burst through al
seams. In the first place this gal r
lies about her age. And in a w<
that’s almost enough evidence to be
dared insane. She’s as unpredic
as the weather of her natal month. !
lusty, gusty, eats like a stevedore,
like one sometimes. But when you (
expect it — just like an April shov I
Bette can be the Greatest Lady you I
saw outside of a Gainsborough portrj
How about your April chums? Are i
sedate or scintillating, and as a group, |
erent from the rest of us Virgos, |
Capricorns and what have you’s? 1
sonally, I’m a Virgo, but right now ll
like an April flower that’s about to fc <
in May. Even writing about them is >
tagious.
The End
Send twenty-five cents (in coins) for each pattern to: Photoplay, Needlecraft Service,
P.O. Box 123, Old Chelsea Station, New York 11, New York. Add five cents for each
pattern for first-clas6 mailing. Send an additional twenty cents for Needlecraft Catalog
THE NATL. SOCIETY FOR CRIPPLED
CHILDREN AND ADULTS, INC. II S.
LASALLE STREET, CHICAGO 3, ILL
80
In these 3-hour danger periods
Your skin Dies a little
There are periods of 1 to 3 hours each
day when your skin is "not itself,” skin
doctors say. This is right after you wash
your face. In washing away dirt, you
also remove natural protectors of the
skin. It takes from 1 to 3 hours for
Nature to re-build its defenses. During
these hours of skin "un-balanee,” seri-
ous problems can take root: dryness,
shriveling, large pores, coarseness.
Read what these women do to prevent
these serious skin problems —
After each washing ,
"re-balance” your skin
'un-balance” after washing
You yourself have noticed the more obvious
c
[signs ot t
your face:
[ The taut feeling as it dries.
Flaky patches on your cheeks, shininess.
'These are small warnings of skin "un-
ibalance”— that show right away. But in the
1 to 3 hours Nature takes to re-protect your
skin — much worse problems can develop.
[Dry lines deepen. Inside moisture evapo-
j rates — outer skin shrivels. Skin secretions
harden in pore-openings — cause stretched
; pores, blackheads.
j What do leading skin specialists advise?
I Should you avoid washing your face? "Not
at all,” they say. "But after each washing,
're-balance’ your skin instantly . . .”
Noted beauties, among them the Duchess
of Sutherland, follow each face washing
with a light Pond’s Cold Creaming. This
takes less than 7 seconds-^yet Pond’s "re-
balances” your skin within 1 minute, at
least 60 times faster than Nature does. It
promptly restores skin elasticity. Combats
dryness. Keeps pore-openings cleared. Keeps
'skin texture fine and smooth.
A vitalizing clearing at bedtime
Besides daytime "re-balancing” after wash-
ing, your skin needs a thorough clearing and
firm-up each night. A deep Pond’s Cold
Creaming dislodges water-
resistant dirt. Leaves skin
immaculate.
Begin this simple, complete
beauty care with Pond’s Cold
Cream soon. You’ll find that
quick daytime "re-balancings”
plus deep clearing with Pond’s
every night will accomplish
wonders: a new aliveness,
youth, and clarity in your
[complexion.
Most-famous beauty formula
in the world — never duplicated,
never equalled. More women use
Pond’s Cold Cream than any face
cream ever made.
'<SdJ
— photographed against the turreted grandeur of
Dunrobin Castle. Here the Duchess and her husband,
the 5th Duke and 12th Baronet of Sutherland, entertain
during grouse season. By the North Sea in the Scottish
Highlands, the Castle is very formal, with magnificent
fountains and gardens.
The Duchess has the exquisite complexion for which
British women are famous. Like so many beautiful
women who use Pond’s Cold Cream to "re-balance”
their skin after washing, to deep-cleanse at bedtime —
the Duchess relies on Pond’s. She says, "No beauty
care leaves my skin as smooth and fresh as
Pond’s Cold Cream.”
P
t
81
PHOTOPLAY’S BUYING GUIDE
“Where to Buy” California-Created Fashions shown in this issue
These fashions will also be featured ill a short subject to be released
by RKO Studios, producers of the new motion picture, "The Conqueror "
can buy these exclusive new
Check this list for where you
Photoplay Sunshine Fashions.
Each manufacturer is identified here with a special Code
Number as listed in box below. Use that number to check stores
that carry his merchandise in your shopping area.
MANUFACTURER
CODE NUMBER
Catalina Sportswear
California Cobblers
California Girl Dresses...
California Slikerette . . .
Dove Skin Undies
Saba Dresses
Hollywood-Maxwell Bras .
Jr. Miss of California
Jeannette Alexander
La Resista Bras
Lovable Bras
Rain Dears
Rosenblum Suits
Connie Shoes
9
10
11
12
13
14
Lilli Annette Suits. Rose Marie Reid Swimsuits. Georgia Kay
Dresses and Maidenform Bras available at leading department
stores coast-to-coast.
Deltah Pearls available at your favorite jeweler.
Dream Step Shoes available at your shoe store.
ALABAMA
Birmingham—
Loveman, Joseph & Loeb 1-8-12-13
Pizitz D. G. 11-12
Burger-Phillips 7-12-13
Mobile — Gayfer’s 8
Hammers D. G. 14
Montgomery— Flack’s 8
ARIZONA
Phoenix— Goldring’s 1-3-8
Goldwater’s 8-7-13
Korricks 3-6-10-13-14
Diamond D. G. 6-7
Tucson — Levy’s 1-6-7-8
Albert Steinfeld 3-6-13
Jacome’s 2-6
White House 5-6
ARKANSAS
Hot Springs — Rosenthal’s 2
Little Rock— Pfeifer’s 1
Gus Blass 3-7-13-14
M. M. Cohn 4-13
CALIFORNIA
Berkeley— Blackman’s 8
Roos Bros. 13
Long Beach— Buffum’s 3-6-7-8-13
May Co. 6
Los Angeles —
Broadway D. S. 3-4-6-7-8-10
Bullock’s 2-3-4-6-8-12-13
J. W. Robinson 1-2-6-8-9-13
Desmond's 1-3
Coulter D. G. 4-6
May Co. 3-4-6-7-8-9-10-13
I. Magnin 1-9-13
Oakland —
H. C. Capwell 3-5-6-7-8-13
I. Magnin 13
Kahn’s 3-8
Goldman’s 6-8
Pasadena — Bullock’s 6-7-8-13
Field’s 3-8
I. Magnin 8-13
De Luxe Shop 2
Sacramento — Eastern 8
Hale’s 6-8-12
Roos Bros. 13
Weinstock, Lubin 3-5-7-12-13
Village Shoe 2
Lewin’s 3-4
San Francisco —
The Emporium 2-3-6-7*10-13
Hale’s 3-6-8-10
Roos Bros. 3-6-8-13
Macy’s 3-4-6-8-13
Livingston’s 3-8
The White House 3-6-8-13
San Jose — Hale’s 8
Chas. A. Stevens 1-2-3-6-8-12
The Fair 1-6-12
Goldblatt’s 5-11
INDIANA
Ft. Wayne— Frank D. G. 8
Wolf-Dessauer 1-2-3-4-6-8
Indianapolis— L. S. Ayres 5-6-8-10-11-12
Wm. H. Block Co. 3-6-7-8-12-13
H. P. Wasson 1
IOWA
Cedar Rapids— The Killian Co. 13
Davenport— Posner’s 11
Des Moines — Wolf’s 8
Younker’s 5-6-12-13-14
Martin’s 10
Sioux City— Younker-Davidson 8-13-14
T. S. Martin 12
KANSAS
Kansas City — Macy’s 8
The Leader 13
Topeka— Pelletier’s 11-14
Crosby Bros. 13
Wichita — Geo. Innes 1-13
Buck’s 3-14
Thurston’s 2
10
KENTUCKY
Lexington— Purcell’:
Wolf Wile 13
Louisville — Stewart D. G. 3-8
Kaufman’s 1
Bon-Ton 1 1
Selman’s 6-7-14
Durand’s 10
LOUISIANA
Baton Rouge —
Dalton Co. 3-4-6-8-12-13-14
House of Fashion 3-7-8
New Orlean’s —
D. H. Holmes 2-3-4-7-8-10-11-13
Maison Blanche 7-8-13
Godchaux’s 2-7-9
Marks Isaacs 14
MAINE
Portland —
Porteous, Mitchell & Braun 5-11-12
COLORADO
Denver — Daniels & Fisher 8-13
Denver D. G. 8-13
May Co. 1-7-8-10-13
Neusteter’s 7-13
Amter’s 3
CONNECTICUT
Bridgeport— D. M. Read 7-8-12
Howland’s 5-10-13
Hartford — Sage-Alien 1-10-12
Rrown-Thomson 10
G. Fox 3-5-10-13
DELAWARE
Wilmington— Kennard-Pyle 1-2
Crosby & Hill 13
Schulman’s Bootery 2
DISTRICT OF COLUMBIA
Washington — Julius Garfinckel 2-8-9
S. Kann 8-10-11-12
Woodward & Lothrop 2-3-8-10-1 1-12-
• 13
Lansburgh’s 7-11-12
Hecht Co. 3-5-10-12-13
Jelleff’s 7-10-12-13
Raleigh Haberdasher 13
Franklin Simon 2
FLORIDA
Jacksonville— Furchgott’s 7-14
Cohen Bros. 2-1 6
Miami — Burdine’s 3-4-6-8-10-13
Franklin Simon 2
Byron’s 1
Hartley’s 6-7
Tampa — Haber’s 8
Maas Bros. 6-7-8-10-13
O. Falk’s 10
GEORGIA
Atlanta— Davison-Paxon 1-2-5-6-8-10-1 1
Rich’s 4-5-7-8-10-11
J. P. Allen 1-2-3-6-7-13
Franklin Simon 2
Savannah — Lew’s 6-10
Lady Jane Shoes 2
MARYLAND
Baltimore — Hutzler's 8-13
May Co. 2-8-12-13
Hochschild. Kohn 1-3-10-12
Brager Eisenberg 11-12
MASSACHUSETTS
Boston—
Jordan Marsh 4-6-7-8-10-11-12-13
Filene’s 1-4-5-6-11
Gilchrist’s 12
Franklin Simon 2
MICHIGAN
Detroit— Ernst Kern 12
Crowley, Milner 8-12
Demery's 6-8
Himelhoch’s 3-6-8-13
J. L. Hudson 6-8-11-12
Klein’s 8-12
Winkelman’s 1
Grand Rapids— Herpolsheimer’s6-7- 1 1-12
Wurzberg’s 6-12
MINNESOTA
Minneapol is — Day ton Co. 6-8-10-1 1-12-13
Donaldson’s 6-8-11-14
Powers D. G. 7-8-11
St. Paul— Golden Rule 8-10-11-12
Schuneman’s 7-8-14
The Emporium 10
Field-Schlick 13
MISSOURI
Kansas City— Harzfeld’s 3-6-7-8-13
Emery. Bird. Thayer D. G. 7-12
Kline’s 7-8-14
Macy’s 6-7-1 1
ChasnofT’s 3-13
Levy-Wolf 2
St. Louis-
Famous & Barr 4-5-6-8-11-12-13
Kline’s 8-14
Scruggs-Vandervoort-Barney 3-6-7-8
Stix. Baer & Fuller 3-4-7-8-12-13
The Fashion 14
82
ILLINOIS
Chicago —
Carson. Pirie Scott 1-3-6-8-10-12-13
Marshall Field 3-5-7-8-9-12-13
Mandel Bros. 1-8-12
NEBRASKA
Lincoln— Miller and Paine 1-13
Gold’s 10-14
Hovland Swanson 13
Omaha— Philips Dept. Store 11
J. L. Brandeis 3-4-5-6-8-10
Herzberg’s 4-6
The Aquila 13
NEW JERSEY
El izabeth— Goerke’s 4-7-8-12-13
Levy's 5
Newark— Bamberger’s 1-3-5-6-8-12-13
Kresge’s 12
NEW YORK
Brooklyn — May's 4
Namm Loeser’s 12
Abraham & Straus 3-8-10-12
Martin’s 8
Buffalo — Wm. Hengerer 3-8-11
Berger’s 8-13
Adam, Meldrum & Anderson 10-11-13
J. N. Adams 5-10-12-14
New York City— Bloomingdale’s 6-8-12
Franklin Simon 2-8
Gimbel’s 4-8-12
Lord & Taylor 8-9
B. Altman 4-6-12-13
Arnold Constable 7-13
De Pinna 4
Stem’s 1-3-8-12-13
Saks 5th Avenue 6-7-8
Saks 34th St. 1-8-12
Best & Co. 10-12
Rochester — E. W. Edwards 12
McCurdy’s 5-8-12
Sibley. Lindsay & Curr 5-11-12-13
Syracuse — Flah & Co. 13
Addis Co. 8-13
Dev Bros. 8-10-12-13
E. W. Edwards 6-12
NORTH CAROLINA
Asheville — Jr. Miss 8
Ivey’s 3-7
Charlotte— Belk’s 1-3-6-13
Ivey’s 10
Raleigh— Hudson-Belk’s 10-12
Ivey-Tavlor 2-12
Winston Salem— Stanley’s 2
OHIO
Akron — M. O’Neill 1-5-8-12
Polsky’s 1-8-12-13
Cincinnati — Rollman’s 8-10
Mabley & Carew 5-7-14
H. & S. Pogue 8-1 1-12
Shillito’s 3-6-7-8-11-13
Cleveland — Higbee’s 1-8-12-13
May Co. 4-7-8-10
Sterling-Lindner-Davis 1-8-12-13
Wm. Taylor 10-12
Halle’s 5-6-7-12-13
Franklin Simon 2
Columbus— F. & R. Lazarus 3-8-1 1-12-1 3
Boston Store 1 1
Morehouse-Martens 6-12-13
Dayton— Elder & Johnson 3-8-12
Rike-Kumler 3-7-10-11-13
Toledo — LaSalle & Koch 1-10-12
Lamson’s 12-14
OKLAHOMA
Oklahoma City — Halliburton’s 3-8-10-11
J. A. Brown 1-12-14
Kerr’s 7-12-13
Tulsa — Brown, Dunkin D. G. 1-8-12-14
Froug’s 8-10
Vanderveer’s 7-10
Seidenbach’s 2
OREGON
Portland — Lipman-Wolfe 3-6-8- 12-14
Olds, Wortman & King 3-6-7-8-13
Meier & Frank 3-6-10-12
Charles F. Berg 7-13
Bedell’s 3-6
Chas. Berg 3-6
PENNSYLVANIA
Erie — Erie D. G. 1
Allentown— Hess Bros. 1-12
H. Leh 12
Wetherhold & Metzger 2
Philadelphia^Blauner’s 8-11-14
Strawbridge & Clothier 1-4-10-12
Bonwit Teller 3-7-8
Gimbel’s 4-8-13
Wanamaker’s 1-8-12
Dewees’ 3-10-12-13
Franklin Simon 2
Pittsburgh — Frank & Seder 8-11
Gimbel’s 1-8
Horne’s 1-4-6-10-12-13
Kaufmann’s 1-4-5-10-11-12-13
SOUTH CAROLINA
Charleston — Schiff’s 2
Condon’s 6
Columbia^-Davison-Paxon 10
Belk’s 13
H. Averill 2
Greenville— Belk-Simpson 13
Meyers-Amold 13
Ivey’s 2-7
Patterson’s 6
TENNESSEE
Chattanooga — Loveman’s 1-3-8-12
Miller’s 3-4-8
Memphis — Lowenstein’s 1-1.3
Goldsmith’s 7-8-10-13-14
Franklin Simon 2
Hecht’s 6 ,, 4. _ _
Nashville— Castner-Knott 2-5
Fox Apparel 8
Harvey’s 1-12-13
Cain-Sloan 12
TEXAS
Dallas— Volk Bros. 1-9
A. Harris 6-8
Ring & Brewer 2
Neiman-Marcus 3-6-7-8-13
Sanger Bros. 1-5-7-8-11-13
Titche-Goettinger 7-8-10
Fort Worth— The Fair 6-7
Meacham’s 7-8
Mehl’s 2
Houston— Battelstein’s 4-8
Sakowitz’s 4-6-7-8-13
Foley’s 1-4-6-7-8-11
The Fashion 13 „ _
San Antonio — Frost Bros. 1-6-7
Wolff & Marx 14
Carl’s 4-6-8
Joske’s 1-4-6-7-8-12-13
Salt^Lake Ci tv— Auerbach’s 3-4-8-13
Keith O’Brien 8
Z.C.M.I. 3-9-10-12-13
Makeoff’s 13
VIRGINIA
Norfolk— Paul H. Rose 1
Smith & Welton 13
W. G. Schwartz 12
Goldman’s 2
Richmond — Miller & Rhoads 3-7-8-13
Thalhimer’s 13
WASHINGTON
Seattle — Nordstrom’s 2
Bon Marche 6-8-12-1.3
Rhodes of Seattle 3-4-7- 1.3
Spokane — Bon Marche 3-6-8-10
The Crescent 13
Tacoma — Rhodes Bros. 2-3-6-13
Walla Walla— Bon Marche 6-7-8
Gardner Co. 8
Yakima — Bon Marche 6-8
WEST VIRGINIA
Charleston — Coyle & Richardson 1-13
Stone & Thomas 2-12-13
Huntington — Anderson. Newcomb 13
Wheeling— Stone & Thomas 5-13
WISCONSIN
Milwaukee — Gimbel’s 1 -8-10-12-13
Schuster’s 5-8-11-12
Boston Store 3
It's Fun to Be Thi
in
3, t
(Continued from page 35)
are worth it and the advantages of be
slim are many. For one, a slender figi
gives you a much smarter appearance. \
can feel the difference in you — and a c
ference in others. The very first comj
ment you receive on your new figure seel
to make all those days of calorie-count
worthwhile. I’ve also noticed that a n
figure leads to a new interest in otl
things like your clothes, your hair-do, y<
fingernails. Automatically, also, you f
you’re being neater about yourself. ^
also find that your clothes budget
stretching farther, since a slim girl i
wear far less expensive clothes than !
heavier sisters and look twice as chic, 1
But in addition to the psychological i
lift, a trim figure brings other import
advantages. You are not only prett
but healthier. In fact, science has pro1
that excess poundage can actually shor
life. Studies made by insurance com
nies strongly point up that overwei
people die younger.
Doctors will tell you, too, that excesses
overweight can be the reason behind yi
skin irritations, headaches, indigesti
your always-tired feeling. All good
sons for moderation in eating habits, ar< lea
-
tak
un
111
l .
:!b
:
they?
And despite the old saying that it’s
stout person who’s jolly and happy, to< sel
we’re told this is not true. In fact, ov f!
eating, which is the main cause of ov
weight, usually signifies some perse
problems.
“Eating is the one thing which gives jj)
pleasure,” some folks seem to belie
“Why should I stop?”
Why? indeed! Why not? I say. Why
find a way of life that will enable you
eat to live, rather than living to eat? L
face it. If you’re overeating, chances
that you are simply over-indulging yo
self, and quite unnecessarily so.
There are other things to do in
world of ours. You’re already busy? F
sibly not as busy as you think. Or p
haps boredom has set in and it’s time
a change in your activities. Time to 1
for new interests, a new hobby, a J
job.
If generalizations on the pleasures of
ing slender aren’t enough for you,
yourself a goal, a specific one which sj
cessful dieting will help you attain—
trying to slim down for the beach this si
mer.
I’m not saying that a smaller intake
calories will bring a greater number
proposals. But who can deny that
project would be of great help? So
not help yourself?
You’re convinced? But how to bef
Sensibly is the key word. First thing, c
suit your family doctor, or perhaps >
school doctor or nurse as to your gen
health. If you’ve discovered a diet
seems good to you, better discuss it i
one of them. For a few changes may I
to be made in order to make it suit
for you. Your doctor will tell you
much weight you can afford to lo
safely. (Is there any reason to stress
you should follow his advice very <
fully?)
A good thing to remember about we
is that it’s an individual matter. Perl
you’ve envied the wasplike waist of
popular girl in your English class. A
all, you say, you’re both about the s
height, and if you could just whittle d
to her proportions everything, would
dandy — you think. But this isn t true,
weight — or lack of weight — that look:
good on someone else may not be besl
you at all. Face up, you may never
poi
lull
U
or
waistline like the girl in English II. She
iy have a small body frame; yours may
larger; again, your doctor, knowing
u, may think you’ll feel lots better and
ik nicer with just a few more pounds,
n most cases, overweight is simply a
jblem of too much to eat and too little
srcise. The number of so-called miracle
• ight reducers around these days are
;ny (you know the kind that promises,
ou, too, can take off ten pounds in a
i ek or less”) . If you’ve been seriously
. isidering one of them, better ask your
„ ;tor about it when you see him. For
1( ■ best way of losing weight is still the
t -fashioned method of less food and reg-
; r exercising. Probably ten pounds a
ek is much too much weight for you to
>p. If you can lose from one-half to
d pounds a week, you’re doing splen-
ly, for a moderate steady loss is better
n a big quick one.
> fever begin a diet with the idea that
tiTre going to have to starve yourself.
), u don’t have to. If you eat the right
r ds, you’ll never have to suffer from a
i iwing hunger pain. Leave out starchy
s 'etables like corn, lima beans, peas, rich
;serts and sweets that provide little but
5 ories. Never go to extremes either.
: member, the rule is “cut down, not cut
,{ i.”
: [’or instance, take that very controversial
n|al called breakfast . A popular belief is
t if you skip breakfast, you’ll begin
ng weight right away. So you deprive
8 (rself of your morning meal and then
11 at? You either grab a quick snack
11 :r on or find yourself grumpy, tired and
■ table and wondering why you’ve no
. rgy.
treakfast is a very important meal.
Sir body has gone a long night without
d and it’s going to object to waiting
■ il lunch for the first nourishment of
j day. The body needs food such as
it juice, cereal, the protein in eggs as
jl to supply energy. (Just learn to eat
ir eggs boiled or poached; fry them or
imble them and you more than double
p calorie content.) In case you’ve for-
ten, the fuel value of food and the
, , y’s energy needs are measured in a
1 1 [ t unit called a calorie. Too many cal-
, 'S, they turn to fat and overweight; too
e and the body must use its own fat
I nake up the difference and you’re un-
1 weight. This is why keeping track of
iries is important in dieting,
j fith the help of the calorie table on page
, /ou’ll have no difficulty in keeping track
'our daily calories. You may even want
'lip and post this chart in a prominent
:e in your bedroom or in the kitchen.
rith your calorie count in mind, plan
ir diet day by day. It’s easier, and the
11 of sticking to it each day seems to
:e the days go by faster. In planning
r daily menus, do make sure that
;e foods are included in each and every
s diet: citrus juice or fruit; 1 egg; 1
e of toast; 1 tsp. of butter or fortified
garine; at least % quart of milk; meat
ioultry or fish (which may be roasted,
med, broiled or pan-broiled) or as a
ititute for meat, eggs, hard cheeses or
age cheese; also include one-half cup
fresh fruit, or canned fruit without
tr or unsweetened frozen fruit; a small
ing of potato; and as much as you like
lain salad greens, radishes, green pep-
, garlic, onion, celery, cucumbers,
k unsweetened coffee or tea, or lemon-
without sugar. To determine what
proportions to eat, keep in mind the
1 day’s calorie intake recommended by
doctor, then check the calorie
t to see how many calories are con-
ad in the foods you’ve listed in your
u. Total up all calories and you can
whether you’re staying within limits.
WHETHER YOU BRUSH YOUR TEETH
ONLY 0NCE,TWICE,0R 3 TIMES A DAY
New Colgate Dental Cream
Colgate Dental Cream
Gives The Surest Protection
All Day Long !
—Of All Leading Toothpastes— Contains GARDOL*
To Stop Bad Breath Instantly . . Guard Against Tooth Decay Longer!
Your dentist will tell you how often you
should brush your teeth. But whether
that’s once, twice, or three times a day, be
sure you use New Colgate Dental Cream
with Gardol! Colgate’s stops bad breath
instantly in 7 out of 10 cases that originate
in the mouth! Fights tooth decay 12 hours
or more! In fact, clinical tests showed the
greatest reduction in tooth decay in tooth-
Gardol, Colgate’s wonderful new paste history!
decay-fighter, forms an invisible
shield around your teeth. You
can’t feel it, taste it, or see it—
but Gardol’s protection won’t
rinse off or wear off all day.
That’s why Colgate’s— the only
leading toothpaste to contain
Gardol— gives the surest pro-
tection ever offered by any
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^Colgate’s Trade-Mark For Sodium
N-Lauroyl Sarcosinate.
Every Time You Use It. ..New Colgate Dental Cream
CLEANS YOUR BREATH *8* GUARDS YOUR TEETH!
p
83
IT'S FUN TO BE THIN continued
Use This Calorie Table to Chart Your Daily Diet
FOOD AMOUNT CALORIES jg
CEREALS
AND CEREAL PRODUCTS
g
Breads — protein
1 slice (1 oz.)
75
|
Cereals — cooked
% c. cooked (1 oz. dry)
100
m
Cereals — ready to serve
1 c. (1 oz.)
100
m
Doughnut
1 medium (2 oz.)
240
m
Graham crackers
1 cracker
40
H
Macaroni, spaghetti, rice % c. cooked (1 oz. dry)
100
n
Saltines
1 saltine
25
11
DAIRY
PRODUCTS AND EGGS
1
Butter
1 tablesp. ( ''j 2 oz.)
100
1
Buttermilk
8 oz. (1 c.)
85
M
Cheese — American
1" cube (0.7 oz.)
85
H
Cottage
5 tablesp. (1 oz.)
35
1
Cream
1 OZ.
1 10
g
Cream — Heavy
1 tablesp.
60
=
Light
" "
30
il
Sour Heavy
M II
60
m
Eggs
'/2 c.
200
n
Ice Cream
'/2 c.
200
n
Milk — whole
8 oz.
170
m
evaporated
8 oz. undiluted (1 c.)
320
FRUITS (
raw or cooked without sugar)
§
Apricots (5 medium fresh), bananas (1 medium), cherries
100
M
(20), dates (4 medium dried), figs (3 small fresh), grape-
m
fruit ( 1/2 medium) , grapes (1 large bunch, 7 oz.-Concord ) ,
=
honeydew melon f/4 medium), pineapple (2 slices, 6 oz.),
=
prunes (4 medium dried), raisins ( '/4 c. ) , raspberries and
1
strawberries ( 1 c.)
n
Apple, orange
1 medium
80
1
Apricots (6 dried, unsweetened halves), peach and pear
60
( 1 medium), plums
3 medium)
m
Lemon
1 medium
30
n
Tangerine
1 medium
50
s
Watermelon
1 slice, 6" diameter, 1" thick
1 10
n
FRUITS (cooked or canned)
M
Applesauce (% c. )
apricots (3 medium halves and 2
100
n
tablesp. juice), peaches (2 large halves and 3 tablesp.
juice, pears (3 medium halves and 3 tablesp. juice), pine-
=
apple ( '/3 c. crushed
or 2 medium slices), rhubarb ('/2 c-)
1
Fruit salad or cocktail
i/2 c. fruit and juice
125
fi
Grapefruit
i/2 C.
65
Strawberries
i
i/2 c.
130
H
VEGETABLES (dried)
1
Beans
1/2 c.
100
1
Peas, lentils
i/2 oz. before cooking
95
1
VEGETABLES (fresh)
Asparagus (15 medium stalks), beets (2/j c. diced), broccoli 50 jj
(I c. ) , carrots (3 medium), tomatoes (I c. cooked)
Beans ( '/2 c. baked or lima), peas (3/4 c. green), potatoes 100 g
(I medium white), parsnips (I medium)
Beans (I c. green), squash C/2 c. winter) 40 ||
Beet greens and spinach (I c. ) , pumpkin (I/2 c. ) , turnips 35 g
(% c. yellow) g
Cauliflower (I c. ) , tomatoes (I medium raw), turnips 30 m
(% c. white) m
Celery (I c. diced, 6 stalks), onions (I medium), sauerkraut 25 j|
(2/3 c. ) , squash (I c. summer) g
Corn — cut off cob i/2 c. I 10 g
Cucumbers ( I medium), escarole ( I head) , parsley ( I bunch) 15 g
Lettuce Va medium head 12 g
FOOD
AMOUNT CALORIES
Mushrooms
0
Radishes
5 medium
10
Yams
1 medium
155
FRESH OR CANNED JUICES (unsweetened)
Apple cider, grapefruit juice
8 oz. (1 c.)
115
Grape juice
160 !
Lemon juice
83
Orange, pineapple juice
II II
120 ;
Prune juice
180 :
Tomato juice
Il ••
50 !
Vegetable juice
il
48
MEATS,
FISH, POULTRY
Bacon
4 medium slices (1 oz.)
150
Beef — Corned
4 oz.
320 j
Lean Round
"
175
Lean Roast
"
185
Sirloin Steak
"
205
Chicken
4 oz. lean meat
145
Clams
9
87
Crab meat
2/3 c. (4 oz.)
92
Fish — Bluefish, Halibut
4 oz.
135
Codfish, Haddock
"
80
Herring
"
150
Salmon
1 c. canned
246 f
Sardines in oil
4 sardines
104
Tuna
1 c. canned
219
Whitefish
4 oz.
170
Ham — lean smoked
4 oz. parboiled and baked
175
Lamb — roast leg
4 oz.
210
chops
4 oz. (1 chop) broiled
225
Liver
4 oz.
200
Oysters
6 oysters (4 oz.)
92
Pork — chops
1 chop (4 oz.) cooked
215
roast loin
4 oz. lean meat
200
sausage
1 oz.
125
Scallops
2/3 c. (4 oz.)
84
Shrimp
8 shrimp (2/2 oz.)
72
Tongue
3 oz. (5 slices)
170
Turkey
4 oz. lean meat
175
Veal — chops
1 chop (4 oz.) broiled
200
cutlet
3 oz. broiled
120
roast
4 oz.
145
MISCELLANEOUS
, J
Nuts
'/ 2 °z-
100
Catchup, Chili Sauce
1 tablesp.
20;
Chocolate — bitter
1 square (1 oz.)
170
sweetened
1 OZ.
220;
Cocoa made with whole milk
V2 c.
100;
Coconut
2 tablesp.
9C
Coffee, tea without sugar
and cream
c
Gelatin (plain unflavored)
1 envelope (1 oz.)
30
Honey
1 tablesp.
HCjl .
Maple syrup
1 tablesp. .
65s
Margarine
1 tablesp.
lOCf
Marmalades, jams, jellies
1 tablesp.
8i|
Oils — olive, corn, peanut,
cotton-seed, soybean
1 tablesp.
I0CB
Salad Dressing
1 tablesp.
3Cl
French Dressing
1 tablesp.
Mayonnaise
1 tablesp.
iocs
Sugar — granulated
1 tablesp.
brown
1 tablesp.
Soft Drinks
approximately 12 calories per
°z., j
8 oz. glass
9 1
’llfllllllllllllllllllllllllilllllllllliW
84
Regular exercising is all a part of re-
ucing — not that exercising will take off
/eight, but it helps by breaking down
olid fat tissue; assists in building up flab-
y areas. Why not stop by and speak to
our doctor or physical education teacher
bout an exercise program?
You might also be interested in the book-
:t, “Overweight and Underweight,” which
lay be secured by writing to the Metro-
olitan Life Insurance Company, 1 Madison
.venue, New York 10, New York.
Another point you shouldn’t overlook is
atting mentally prepared. First, you must
romise yourself that once you start you’re
oing to follow through. To stop and
art on a whim never shows results and
icretly leaves you displeased with your-
ilf for the lack of will power. Secondly,
y to diet with a friend. It’s amazing how
,uch easier it is to pass the drugstore
hen you have someone with you who’s
so on a diet of lemonade, and it’s twice
i easy to do exercise when you can share
e music and the groans with a dieting
mm. Again, exercises should be done
igularly. To let the spirit move you only
ice a week will do no good whatever.
As you can see, I’ve been convinced
eting’s worth all the effort. I hope I’ve
invinced you, too. There are over twen-
-five million overweight persons in this
luntry. If you’re one of them, why not
ibtract one from the number. Not nec-
sarily for statistics’ sake, but for your-
lf. Once the deed is done, you’ll have
e time of your life.
The End
Sentimental Rebel
(Continued from page 40)
adlines, or of being openly pursued, as
any a glamour girl has found out to her
noyance. “I can do my own hunting,”
the way Jeff sums up that little familiar
illywood situation.
Jeff’s always done his own summing up.
irn Ira Grossel in Brooklyn, New York,
me thirty -odd years ago, from the be-
ining Jeff had an almost violent indi-
lualism, which neither fame, fortune nor
itrimonial disaster have been able to
me. While in high school, he made up
> mind he was going to act. Since he
d to help out in his mother’s candy
ire after school, he couldn’t take part
any of the school dramas. But upon
aduating, he set out to earn the $500 he
eded for enrollment in dramatic school,
was a long struggle, and one day Jeff
aught he’d found an easy way to earn
For $200 he could study commercial
and from the money he’d earn as an
1st, he could increase his weekly sav-
!s. He went off to art school; completed
course; started to work as a free-lance
1st and within months was back at
lool — this time as an instructor,
t was through one of his art pupils,
io was also studying drama at Feagin
lool of Dramatic Arts in New York,
it Jeff was invited to one of the student
ys. So impressed was he that evening
it he got up early the next morning
1 was the first to arrive at Feagin’s
ima school. He had something to ask.
uld he have a scholarship? He got it!
:er drama school and a stint in a Long
md stock company, Jeff and actor-
md Bill Bryan started their own stock
npany in Elgin, Illinois. Although the
npany was a success, Jeff gave it all up
enlist in the Army after Pearl Harbor,
nr years and a long spell in the Aleu-
ts later, Jeff turned up in Hollywood,
bin days of shedding his first-lieuten-
■’s uniform for civilian togs. Army dis-
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charge pay kept him eating until he
landed the lead, on radio, of Mr. Dana
and Michael Shayne, Detective. His big
break came after he won the role of Eve
Arden’s boy friend on “Our Miss Brooks,”
and not too long after was signed for
“Sword in the Desert.” Since then, Jeff’s
career has in no way faltered in its steady
climb to the top. Today, Jeff’s only gripes
are personal ones.
For instance, he actually wishes he
weren’t so distinctive-looking, so that he
could go around more openly with the
ladies of his choice. Or, at least, so he
says. He claims his face has always been
a difficulty to him. “It’s put together like
a hound dog’s,” he says, “making me look
unhappy regardless of how I feel. Often
I’m sitting alone somewhere and as close
a friend as Tony Curtis will come up to
me and say, ‘What’s the matter, Jeff?’
Nothing is the matter. It’s just my face,
but people never believe that.”
On the other hand, a brand-new white
Cadillac and suits that no self-respecting
tailor could possibly turn out under $250
put on such a body as Jeff’s would give
him a high visibility anywhere. But he
never seems to think of this, any more
than he seems to realize he’s being un-
usual in resenting his name being coupled
with certain of his dates’. This resentment
is not on their account or his own, but
because such rumors “hurt Marje.”
Marje is, of course, his ex-wife. She
and Jeff were divorced a year ago after
eight years that were so stormy that they
had one serious parting and a reconcilia-
tion before their final separation. She
has the custody of their two daughters:
Jamie, who is now eight, and Dana, about
to be six.
Jeff, a devoted father, calls them daily.
He always talks to Marje, too. He visits
them once a week, on Sunday. At the time
of the divorce, he had “reasonable visita-
tion rights,” which he interpreted to mean
he could drop in anytime. But he soon
found that was disturbing all of them. So
now he spends all day Sunday with them,
and it bothers him that he can’t take his
girls on pony rides or to the various
amusements spots around Los Angeles
because when he does fans stampede him
and he has to spend all his time signing
autographs.
It worries him, too, that he has made
his children the product of divorce. “I
think that is the chief reason my own
marriage went wrong,” he says. “I came
from divorced parents. So did Marje.
That’s a bad background for lasting love.
I’m sorry Jamie and Dana are inheriting
it.”
Yet, individualistic rebel that he is, he
has his freedom. He won’t say whether
it was he who most wanted the divorce
or his wife. He insists that they both
wanted it. But if that’s true, then why
does Marje care what he does? And why
does he care if she does care?
He is naturally sentimental, though per-
haps not aware of it. At a party about
four years ago, Tony Curtis came rushing
in, wearing the first tuxedo he had ever
owned. Of course, Tony had worn tux in
a picture or two, but this midnight blue
number had been made to order for him
and paid for with his own money.
Most young men, Jeff included, would
have gone around pretending a new dinner
jacket was a mere commonplace to them.
But not the bounding Tony. He had to
have everybody look at it, feel it, know
the price of it. Watching him, Jeff mur-
mured, “If anybody ever hurts that kid,
takes that natural warmth away from
him, I’ll kill him myself.” Of course Jeff
is kidding, but his words imply a feeling
which he has toward those who are
of special importance to him.
“For instance, I’d hate to have at'
friend of mine, and I consider Tony f
very good friend, find out what it is li]|T
to live alone.”
Yet Jeff lives alone at the studio whii
at night couldn’t be lonelier or spookit
But what he has for himself, the kii
of life he leads means that he appn
ciates, all the more, what he would wi:
for those to whom he gives affection. T1
very personality traits Tony has, J<
does not possess. He is fonder of Toi
and admires him more than he does ai
other person — perhaps because he has noi
of Tony’s easy outward-going warmt
none of his simple love of people.
But with all this admiration for wel
rounded social life, when Jeff decided
get a house a few months back, he g
it in Apple Valley, about one hundred mil
from Hollywood and his friends.
But Apple Valley is no Palm Spring
which is made up in equal parts of actoi
writers, song pluggers and rich touris
What’s more, Palm Springs is within re;
sonably easy commuting distance fro
Hollywood. There is a real movie-coloi
aristocracy there. It’s rich with the kii
of talk you’d think Jeff would prefer, pa
ticularly now that he is getting more ai
more into music recording, and when 1
also wants to branch out into directi]
and producing as well as acting.
There’s nobody like him in Apple Va
ley. What’s more, the place is so dista
from U-I that Jeff can seldom get thei
To top it all, he just rents the house.
And a further part of his mysterio
pattern is that he actually does have
Hollywood apartment. Virtually nobo(
has ever been in it, including Jeff. Yet 1
keeps it — “to be alone with myself.”
Try to pin him down on that, ask hi
why he doesn’t settle on one big hou
or apartment or something and he saj
“My needs are very small.” Then in tl
next breath he’s telling how back in 1
childhood he promised himself that o:
day he’d be making $5,000 a week, and th
he is almost at that goal right now. He
also confess that he began acting, n j
from any artistic urge, but because it w
“the fastest way to make a buck” that )
knew about. Then he reverses gears ai
says he wants to become a director becau
he can’t get enough self-expression frc
acting.
Along with his singing and lyric writir
from which he is getting a big char
(and a lot of income) he’s now branch! i
out into writing, both for movies and rad
And being very good at that, too.
Which doesn’t give him too much tir
in which to date Betty Abbott, who us
to go with Rock Hudson. Is Jeff serio
about Betty, whom he calls “a real ni
girl,” more serious than he was abo
Gloria DeHaven not so long ago, or A
Sheridan once upon a time? Maybe J
will remarry. He says that he wants
just as he says he does hope to fall
love again. But none of the girls he dat
resemble one another and whenever 1
name is coupled with a particular girl I
scowls angrily “because of Marje.”
It all proves he’s sensitive to oth
peoples’ emotions, even while appareni
he doesn’t want to conform too much i
them himself.
And all the various mediums of exprt
sion he is now indulging, like his singii
acting and writing, prove how much cr
ative drive he has, which is one of t
reasons he is so appealing on-screen.
If and when the girl comes along w
can turn him from being an “aloner” i
to being a happy husband, then you’ll ret I
ly see something. But even as he is ri£
now, you have to admit — Jeff’s pretty do
goned wonderful!
The End
LL PATTERNS
OF IN U S. A
w Love Has Charms
( Continued from page 47)
“But in that case you might have asked
me where I was and what I was doing,”
Rory told her. “And that would have
spoiled everything.”
“Everything like what?”
“Like the surprise,” he said, reaching
into his pocket and producing a small
package.
r He handed it to Lita and she opened it.
Inside the box lay a circular charm with a
heart in the center. She saw that it had
been inscribed and she read the words
aloud. “May we love as long as we live
and live as long as we love.”
“They’re beautiful. The gift,” said Lita.
s“And the thought. Both of them.”
The Calhouns refrain from flaunting
their sentiment. But it’s there. And it’s
real. “You know,” says Lita, “I can look at
l one of the charms and suddenly the mem-
lories come back. Sometimes I get lost in
them for a while. Then Rory will come in
ifrom work and I find myself welcoming
him as if I hadn’t seen him for weeks!”
R She laughs. “Take this funny little
;:harm. See? It’s Leo, the Lion, with his
paw on his forehead. That stands for my
first sip of champagne and the fact that
!’m a Leo girl. Rory brought it to me the
lay after a birthday party. Crazy? Not to
JS.”
The humor lies in the fact that neither
Rory nor Lita drink, except for an occa-
sional bit of champagne. And when Lita
ook her first taste of the bubbling bever-
age, her husband teased her. “That one
(iwallow will give you a terrible hang-
>ver,” he warned. But Leo’s the one with
he hangover — it’s permanent and in gold.
, The sentiment lies in the fact that when
liita first met Rory, he was sitting ringside
lut Mocambo, with an untouched magnum
if champagne by his side. “I had my own
orchestra at the time,” Lita remembers.
And we were playing there.
“I’d seen Rory before. He’d danced by
he bandstand many times, with many
ates. and I’d smiled and said hello, just as
smiled at all of the dancers. Then one
vening he came in alone.”
Rory was Diamond Jim Calhoun that
fight. He’d just picked up his salary check
nd decided, for a change, he’d splurge a
ittle. He’d had a magnificent feast at the
xclusive Bel Air Hotel — in a large booth
y himself. “This booth is usually reserved
Dr Greta Garbo," the waiter had said.
“Suits me just fine,” Rory had replied.
He’d thought that he, too, wanted to be
lone in all this splendor, until he’d found
picture of the lovely Isabelita Castro
■ oming back into his mind. Then he head-
d for the Mocambo.
He’d ordered champagne with a flourish.
i erhaps she’d be impressed? She was. “I’d
;en people with magnums at their tables
efore,” she smiles. “But most of them
ad been gulping down the stuff. Rory was
ardly touching his.”
When she came off-stage, he stood up
ad introduced himself. “I’m Rory Cal-
bun,” he said, “but call me Smokey.”
“I’m Isabelita Castro,” she said, “but call
le Isabelita.”
“Won’t you sit down for a minute? Have
glass of champagne with me?”
‘. She didn’t drink and she never sat with
1 aests and she had to freshen her make-
p before going back on-stage. “How
Dout just talking for a while?” he asked.
“Maybe, after the next set of numbers,”
ie replied. And when she came off-stage
i fain, she saw that he was waiting.
... Lita’s first birthday after their mar-
age, there was the party with champagne.
Jen came Leo with the aching head. And
■ ere’s still another Leo, for still another
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birthday. “That was the time I thought
he’d forgotten,” says Lita.
“We were at the ranch in Ojai when we
decided to have a small celebration. Well,
Rory came in, loaded down with packages.
Large ones. He’d brought me some lovely
things. But I couldn’t help the feeling I
had . . . that he’d forgotten the most im-
portant item. After all, I told myself, you
can’t expect your husband always to re-
member. You’re an idiot to be disappoint-
ed, you mustn’t let him know.”
She glanced up and saw that Rory was
looking at her, and she saw a smile spread
over his face. “There’s something else,” he
said. “In my pocket.” And there was Leo,
sitting in the middle of the world, with
stars all around him.
Six years . . . There’s the medal of St.
Joseph Copertino, which reads, “Fly with
Me in Safety.” There’s “Our Lady of
Guadalupe — Protect Us.” Because one or
the other was always flying somewhere —
even from the very first.
The evening they met, Rory asked if he
might drive Lita home. “My brother comes
for me every night,” she told him. Then
she added, “But I might call, and if he
hasn’t left the house. . .”
He hadn’t. And Rory took Lita home,
the long way, via four drive-ins. “Let’s
have a hamburger,” he suggested. They
did.
“How about some coffee?” he said next,
because he didn’t want the evening to end.
And they stopped at another place.
“We forgot dessert,” was the thought
that followed, a few blocks later.
“By all means, let’s have dessert,” said
Lita.
When they left the third eatery, they
were laughing. “Another cup of coffee?”
asked Rory.
“Love one,” said Lita. “But won’t it
keep you awake tonight?”
Then he told her. He was catching a
plane at dawn. He was supposed to be in
San Francisco for a personal appearance.
Finally, they reached Lita’s house to
find her family somewhat frantic and of-
fering a relieved welcome. Rory and Lita
and the Castros stayed up and talked the
rest of the night and they drove him to the
airport. “I wish I had a medal for you,”
were Lita’s last words, “to keep you safe.”
After their wedding, it was Lita’s turn
to fly to San Francisco for a personal ap-
pearance. Rory couldn’t get away to ac-
company her and when he put her aboard
the plane, he pressed another box into her
hand. “Safe flight,” he said. It was the St.
Joseph Copertino medal. “Fly with Me in
Safety.”
Later, he visited her in San Francisco
and when he left, she found “Our Lady”
on her dressing table.
“Six years,” says Lita. “It seems more
like six days. Problems? There could have
been. For instance, for a while I’d intend-
ed to give up show business completely.
Everyone said that a career and a happy
marriage would never go together. I’d
been on the stage since I was two years
old in Spain, but I decided to try to for-
get it all.
“Then one day I received a call that
seemed irresistible. At first I refused. I
was asked to reconsider. While I was talk-
ing, I glanced around and saw Rory in the
doorway. Then I heard the back door close
and the car drive away. When I hung up,
there was no sign of Rory.”
Later, much later, he returned with the
medal of St. Genesius, the guiding Saint of
careers. “As long as you have the business
in your blood you might as well show it,”
he grinned. “Now go call the man and tell
him you’ll take the job.”
“It’s really all right?”
“It’s really all right.”
Lita has made night-club appearances
|
and done television stints ever since. B
she has accepted no engagements th I
might interfere with the Calhoun ma
riage by keeping her away from Rory. E:
cept once.
Their bookings got crossed. Rory w
scheduled to go to Argentina to film “W;
of a Gaucho.” Lita had committed hersc
for a night-club appearance with danci
Billy Daniels in Las Vegas and then
Hollywood. Rory spent three weeks wi
her in Vegas before his departure f
South America, leaving with her an “O'
Guardian Angel” medal.
He was gone for three months and Li
threw herself into her work. Then can:
closing night at Ciro’s in Hollywood — tl
second and final show.
She noticed the way Billy kept peerii
through the curtains before their numb;
began. “Billy, people are going to s
you,” she told him, thinking how unpn
fessional his behavior for a real profe
sional like Daniels.
Billy looked anyway. Even while thi
were dancing on-stage, he seemed to 1
searching for someone in the audien<
Lita followed his gaze. And then she sa
Rory was at a ringside table. He’d cor
straight from the plane, beard, sportshi
and all. Lita let out a scream, stopped ti
show and ran over to her husbar
“Speaking of unprofessional behavioi
Daniels grinned later, when they we
seated at the table.
“You knew,” Lita accused him.
“Got a wire earlier in the evening,” '
said. “Fine plot we had going!”
“Heard you were broke, honey,” inte
rupted Rory. “So I rushed right back.”
“Broke?” True, she hadn’t become M
Fort Knox, new costumes and arrang
ments costing what they had.
“Yep, poor kid, you worked so hard a:
made such a little bit of money. . .”
“I what? Now see here . .
“You see here,” said Rory. And the
was a fifty-dollar gold piece charm in 1;
hand. “Now at least you can eat for a ft
days,” her husband finished.
Lita laughs about it now. “Rory’s a grt
kidder. He kids himself, too. Take tl
charm, for instance. It’s Rory, holding or
a microphone for dear life. Funny, isn’t
But there’s something serious about it i
both of us. It indicates his growing assr
ance in the theatre world.”
Rory had been on personal appearant
before — but always with groups sent c
by his studio. He’d never tried it aloi
“But I’d like to,” he said one day. “I’d li
to meet the people who come to see i
pictures and to thank them in some wad
To Rory, it was a big step. Being in
movie is one thing. Standing upon a sta.
face to face with an audience is anoth
“We’ll work up an act,” said Lita. “N
let’s see. You should sing and dance . .
She taught him several difficult Span jiiL
songs and she taught him to rhumba. H
have a problem,” he’d say. “My feet ke
getting in the way.”
“Forget your feet,” she’d advise.
They broke in the act in PhiladelpI
Rory sang and told jokes and danced a
Lita joined him for several numbe 4
“Those folks in the audience were so )
ceptive,” says Lita today. “They gave R<r
the confidence he needed. And now I thi *
he could tackle anything!”
The charms are for laughter, the gc:
times, the memories of the poodle Lita 1 1
wanted so badly, the one for which R</
had searched. “But before he found 2
right poodle, a friend of ours brought 2
Susie as a gift,” says Lita.
So Rory had Susie’s likeness cast in gc ■.
“Here she is,” he told Lita. And there vi
still another poodle. “And this is to
88
! ind you I haven’t given up my particular
arch!”
. . . The first bullfight. He’d watched
r eyes light up and her excited cries of
' >le!” And he’d had the event recaptured
their jeweler.
The charms are for tears. ... For such
i long time, they’d wanted a baby. They’d
ped and prayed and planned and waited,
id finally, when it seemed their wish
mid be granted, they wrapped their lives
ound their expected child.
[n her fourth month of pregnancy, Lita
came ill and lost the baby. As Rory sat
side her hospital bed, she tried to keep
ck the tears. “I’m sorry, darling,” she
d him.
‘But you’re all right,” he said. “And
are can be others, someday. . . .”
When he had to leave her, she buried
r head in the pillow, and when her
nd reached up, it brushed against some-
ing small and hard. It was a charm. She
Id it fast. It was “Our Lady of Perpetual
ilp.” And Lita knew that somehow their
irld would be right again.
Later, when she was well, she went on a
apping expedition. She arrived home
th an armload of bundles. “I saw some-
ng today,” she told Rory. “Another
arm. It was a baby, holding a pearl. I
aught of our baby.”
Ihen she forgot the incident until Rory
ninded her. Today the charm is on her
acelet.
The Calhouns have never been more
are of the importance of their charmed
p than the evening they attended a sur-
ise anniversary party given by the wife
i an acquaintance. As it turned out, the
lent was very much of a surprise. Espe-
lly to their hostess’s husband. He had
inpletely forgotten the anniversary,
dory and Lita found themselves sympa-
ftically glancing toward their hostess,
iwever, to their amazement, they saw no
.ce of disappointment or anger in her
:e. “I really couldn’t care less,” she
ighed. “You see, we have a modern
irriage. We don’t go in for a lot of senti-
:nt.”
‘I wonder if she honestly means that,”
d Lita quietly.
dory reached over and took her hand
i held it. “I’ll take the old-fashioned
id every time,” he whispered. “And if I
sr forget, toss the nearest lamp at me.”
‘I’ll toss every lamp in the house,” Lita
iured him, knowing she could afford to
ike the statement without the slightest
k to the furniture.
Tor that day she had received another
arm — The Tree of Life. “It stands for
alth, for long life, long association, for
ity and love,” she says. “Forever.”
The End
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The Starting Point
( Continued from page 60)
to drive it. Dad says it’s a honey to drive.’ ”
Not that Bob’s parents ever coddled him.
He was loved but not spoiled. His sister,
Mary Lou, four years older than Bob
(she’s now Mrs. Albert S. Scott, Jr.,
mother of three youngsters and married to
a Claremont, California engineer) has
never taken a public interest in Bob’s
career, nor has she ever visited the studio.
“Mary Lou,” Bob once said wryly, “can
set me back on my heels faster than any-
one I know if I ever get too cocky. She
never flatters me. She really tells me what
she thinks when I give a bad performance.
Even my six-year-old nephew once cut
me down to size. I had gone over to Clare-
mont to bring the kids some presents. No
sooner did I step into the house when my
nephew floored me by saying, ‘Mom took
me to see your movie. And you know
something, Uncle R. J., you’re a ham!’ ”
It was Bob’s mother, gentle-faced, quiet
and deeply religious (she is a follower of
Unity) who explained how Bob Wagner
first became R. J. “Mr. Wagner was always
Bob to me and our friends. When our son
came along and was named after his father,
there was no thought of calling him Junior.
Almost automatically he became R. J., and
that’s what he’s been ever since, at home, at
school and in our family.”
Even Wagner himself, calling a friend
on the phone, will say, “This is R. J.” It
is almost never Bob with anyone he knows
well.
Bob’s father, Robert J. Wagner, Sr., is
about sixty — a bluff, hearty, self-made
man who came up the hard way as a paint
salesman in Detroit. When angered, he
can roar like a wounded bull. Some of
Wagner, Sr.’s explosive temper came down
to his son, but R. J., like his old man, gets
over his anger quickly. “I was never afraid
of my parents,” Bob will tell you today.
“When I was a kid and they had friends
over in the evening, I wasn’t shushed
away. They let me stay up as long as I
liked, within reason. And the worst punish-
ment they ever did or could give me was a
disappointed look.”
And the elder Wagner, whom his son
calls “The Dude” or “Junior,” out of love
and affection, says, “We always gave R. J.
his head and backed him up in whatever
he did. When you treat a boy like a man,
that’s what he becomes.”
A studio production man recalls an in-
teresting sidelight on Mr. Wagner’s at-
titude towards his son’s career. It was on
the day that R. J. and Richard Widmark
had their slashing, bloody battle on a
mountain ledge for one of the key scenes in
“Broken Lance.” Bob’s parents were there
watching the scene being shot. This was a
tough, bruising, realistic fight among the
granite boulders of the mountain, and both
Widmark and Wagner suffered lacerations
from their struggle. Mrs. Wagner watched
the scene for a few moments, then turned
and walked away, white-faced and visibly
disturbed. Her husband stayed on, grimly
taking it all in.
When one portion of the fight was over
and the cameras were being readied for the
next take, the production man turned to
Mr. Wagner. “It’s a sort of rough business,
isn’t it?”
“I know,” Mr. Wagner said, quietly, “but
life is rough, too. R. J. has to learn how to
take it.”
What makes the elder Wagner proudest
of his son’s achievement is the new and
more respectful attitude towards R. J.
among Mr. Wagner’s associates in the steel
business. “To them, R. J. was just a kid
who was in the movies for a lark,” re-
called Mr. Wagner. “They remembered
ret
utty
ri t
and
Me;
him as a bright, smiling youngster no
called, soliciting their orders during re
time he was with me in the business. W en
he got into pictures they said very li ,e,
knowing I wasn’t too happy about my s i’s
new career. Then, one day, a coupliof
weeks ago, I stopped in to see a custonr.
The first thing he did was tell me he jd
just seen ‘Broken Lance.’ ‘Say,’ he s d,
‘that boy of yours is darn good! He’s rely
come through, hasn’t he?’
“Well,” Mr. Wagner went on prouy,
“that was one of the greatest things tf;’s
happened to me.”
It has always angered R. J. to pick i a
magazine and find himself described ir m
article as the son of a “millionaire sHg,
tycoon.” “How silly can you get?” jBi;
_ flj 3
The elder Wagner is just as vehenu;.
“I’m a long, long way from anything
that,” he snorts. “Sure, I’ve made a
bucks, but I’ve worked for it. It di
come to me on a silver platter. R. J. di
get it the easy way, either. He sold pap ,
washed dishes, shined airplanes and 1
care of horses to get money for the th:
he wanted. That was because, long ag
had made a deal with him. Every dollai'
earned, I’d match. It turned out to l
pretty costly arrangement for me. R. J.
a hustler. He kept a little black noteb
and jotted down every dime he made.”
Yet it’s Bob’s mother, who was a pri’
secretary in Detroit before her marri.
who feels most keenly any criticism levij
against her son. She delights in R. J.’s £
cess, like any proud mother, but she
cannot understand some of the things
go with it. “Even in La Jolla (a little :
coast town about 125 miles from Ho
wood) we get phone calls for R. J. f:j
youngsters all over the country,” she
vealed. “And fan letters, letters by
hundreds. I don’t know how they <
ferret out our address. It’s nice to ki
R. J. is so popular, but some of the :
things they’ve said in the gossip colu
worry me.”
Bob himself has concluded, in the i
turity of his twenty -four years, that
only protection against malicious or !
gossip is “to be good up there on
screen. Sometimes,” he says, “Mo
would read some of those magazine arti
and get terribly upset.
“ ‘Why do they say those things al
you?’ she’d ask.
“And I would tell her, ‘Mother, so
body’s always gossiping about actors. I
favorite indoor sport, part of the pic
business. I’m not worried, so don’t lc
get you down.’ ”
It is true, as Bob says, that like
successful actor he has had his shari
gossip, of venomous digs and sheer fici in.
There are always two sides to every st
as a certain singer named Johnnie
well knows.
“All I can tell you is that this Wag
boy is just about the greatest,”
Johnnie. “He must have had a wonde
background to be the way he is. I rem
ber when I first came to 20th to test
‘There’s No Business Like Show Busin
Man, I was scared. It was my first pic
and I was shaking all over. I’m on
recording stage, trying to get myself
gether to record my first number, wh<
see this tall, blue-eyed chap standing o
the side. I recognized him immediai
Then suddenly he walks over, sticks
his hand and says, ‘Johnnie, I’m R
Wagner, and I want to wish you the
of luck. Go ahead and kill ’em.’
“Well,” Johnnie continued, “having
do a nice thing like that got me up tl
and helped me forget all my nervous
It
II
90
ind jitters. I sang the way I wanted to.
Lnd it was all due to Bob. I’ll never forget
hat pat on the back as long as I live.”
One of R. J.’s idols in the picture busi-
less is the tough, sardonic Spencer Tracy,
vhose son Bob played in what critics still
ay is R. J.’s best picture, “Broken Lance.”
t was Tracy who recalls the day on loca-
ion near Nogales when he was lolling
iack in his chair, with his wide-brimmed
Stetson pulled low over his eyes against
he hot Arizona sun, amusedly watching
he assault of a group of local girls on his
oung co-star. The girls were pretty and
ager and R. J. was responsive. “You
now,” drawled Tracy, “that was the day I
iegan to understand how Wally Beery used
|o feel about me.”
It was also Tracy who remembers how
/ell Bob took a bit of sharp repartee that
tad R. J. on the receiving end. It hap-
ened after the “Broken Lance” company
ad returned to the home lot following
ome weeks on location. Bob had been
esignated by Photoplay magazine as
The Most Promising New Actor of 1953,”
ut because he was away, Janet Leigh
ad accepted the honor for him at the
fold Medal Awards banquet. Later Janet
jrought the plaque over personally and
jave it to Bob on his return.
I Pretty excited, young Robert took the
Ward to Spencer Tracy’s dressing room,
dthough he holds Tracy in a respect that
mounts almost to awe, R. J. kiddingly
laid, “See this, Mr. Tracy. That’s what they
link of me! I just want you to know the
;:ind of actor you’re working with.”
i The gray-haired Tracy looked Wagner
; p and down unsmilingly, except for a
winkle in his eye. “Yeah, kid,” he drawled,
I know how you feel. I felt the same way
jiie time I got my first Academy Award.”
i “R. J. laughed as hard as anybody,”
racy chuckled, “and he’s still telling that
pory around.”
It is quite true that R. J. has always
lied away from talking about his dates
r his romances. As Bob himself says, “If I
id out with one actress a few times, it’s
; romance. If I date a lot of different girls,
len I’m a Casanova. It’s one of those
teads-you-win, tails-I-lose’ deals. So I
ate in out-of-the-way places.”
: But one of Bob’s oldest friends, a girl
ith whom he went to grammar school and
inior high, explains it further. She is a
retty, blue-eyed blond named Virginia
'unter, now the mother of a two-year-old
loungster. “R. J. and I have known each
ther ever since his family first moved to
i alifornia. We lived nearby in Bel-Air; his
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mother and mine still go to the same
beauty parlor. We became pals as kids
because we both loved horseback riding.
I’m athletic; Bob was always a fine athlete.
I’ve known him for eleven years, and
though he never really had one girl for
long periods of time, I suppose I could
say I was friendliest with him. He was
rather a lone wolf in those grammar school
and junior high days. He was always
friendly and laughing, but he only had a
few close friends. I guess I was his closest
girl friend.
“When he was at Emerson Junior High
he came to tell me he was going to his first
formal and didn’t know how to dance. I
put some dance records on the phonograph,
and we practiced and practiced until he
was perfect. Today he’s a wonderful
dancer. R. J. always came to tell me his
troubles; he’d explain that a girl he was
dating in high school had serious inten-
tions of going steady. How could he get
out of it? He’d only meant to be pleasant.
I explained that he was so interested in
everything, complimented a girl so well on
her clothes, her perfume, her sports ability
and so on, that any girl would assume
much more than he really meant. He was
always one to avoid entangling alliances,
to keep things on a friendship basis. When
a girl got serious, that was R. J.’s signal
to run.
“With most people R. J. rarely lets him-
self become really friendly, but with me
it was a sympathetic brother and sister
feeling. As kids we’d often go to Palm
Springs with our families for the holidays.
Our hotel always served breakfast at a
certain time. All of us would rush in at the
very last moment, but R. J. would always
take time to go from cottage to cottage,
waking up the other kids. He knew how
starved we’d get if we missed breakfast.
“Like other boys his age, he used to
love hot rods and motorcycles. I’ll never
forget the time he came to my house with
his cycle; I was dubious, but game, and
went riding with him. But only once, mind
you. I’ll never forget that ride.”
As a child, Virginia explained, she ap-
peared in a number of pictures at 20th;
later did radio and tv and currently has a
role in the studio’s musical “Daddy Long
Legs.” Since R. J. knew Virginia was
acquainted with show business, he often
came to her for advice. “I know,” says Vir-
ginia, “that R. J. hasn’t let his success go
to his head. When he came to me and said
he was getting the title role in ‘Prince
Valiant,’ he was absolutely starry-eyed
and unbelieving.
“ ‘Imagine,’ he kept saying over and
over, ‘Mr. Zanuck is putting me in it. It’s
going to cost three and a half million
bucks, hear that! Three and a half million
bucks and he’s putting me in it!’
“ ‘Why not?’ I asked him. ‘You’ve demon-
strated you can do it. After all, Mr.
Zanuck’s not going to take some unknown
extra and entrust him with that role!’ ”
There’s still another Virginia who knows
R. J. well — lovely, intelligent Virginia
Leith, who made such an impression in
her first 20th picture, “Black Widow.” Miss
Leith was loaned out with Wagner to
Panoramic to make “White Feather”; it was
a rough, illness-ridden location in Du-
rango, Mexico, and she had ample time to
study R. J.’s reactions.
Virginia recalls that she had met Bob
before. She made a test with him at the
time he was just starting at 20th, and she
can still remember that occasion. Bob was
attempting the role of a lawyer and had
to wear a judicial white wig. It was an
oddly amusing test but even then Virginia
thought, “This boy is good. He’s going to
make it.”
But it wasn’t until Miss Leith worked
with R. J. in Mexico that she realized how
much he had matured. “All the time R.
was there,” Virginia said, “he was deep
and genuinely moved by the poverty 1
saw in the mountain villages. It affecte
him deeply. Then one day a little Mexics
boy started hanging around our company- , <i
an orphan, cross-eyed and desperate
poor. R. J. bought the boy clothes and fo<
and began looking after him. Then witl i
out a word to anyone, R. J. had the chi! i
admitted to the local hospital, got a fii
doctor and arranged for an operation o
straighten the boy’s eyes. The day befo. .i
we were to return to Hollywood, R.
asked me to go to the hospital with hi1 I
to visit the little boy after the bandag
were removed. The whole thing was
complete surprise to me. Neither I n>
anyone in the company had known
thing about it. When I saw the boy, h
eyes were now straight and perfect.”
It is characteristic of Bob to express h
gratitude to people in concrete ways, ofti
with costly gifts. He is constantly giving a
bums of his favorite Jackie Gleason recon
to people who haven’t heard the recor
before. To Eddie Dmytryk, his director <
“Broken Lance,” he gave a gold cigaret
lighter emblazoned with a miniature
the Indian lance used in the picture. F
Betty Lou Fredericks, his hairdresser
“Valiant,” he ordered a gleaming gold p
of the profile of Prince Valiant, comple
with golden wig, and on the reverse of t
pin he engraved a line from a favorite sor
The engraving read, “Do you realize
need you? I want you near me alway:
And it was signed, “Gratefully, Val.”
When he discovered that Monica Mor;
teenage daughter of character actr<
Thelma Ritter (with whom Bob work
in “With a Song in My Heart”) was boi
on a Tuesday, Bob was at his jewele
the next day. He remembered the lit
verse that goes in part, “Tuesday’s child
full of grace,” so he bought a heavy g<
charm for Monica’s bracelet, with a grac
ful Tuesday’s child perched on a pej
And for his mother’s birthday and thirl
second wedding anniversary, he orderec
fabulous dinner at Romanoff’s, invil
both his parents, then presented Mrs. We
ner with a diamond and pearl pin in
shape of an angel. On the back was t
graved, “Because you’ve always been
angel to me.”
R. J.’s dad shook his head over this. “
just never seems able to do enough
us, especially his mother,” he said. “Son
times I think he does too much. We dc
want him to spend his money that way,
we can’t stop him.”
It could be, of course, that R. J.
doing so much for his parents, is trying
atone for the disappointment he cau:
them in passing up the steel business. R1
has often said, “I know Dad was terri
upset when I wanted to go into picture
just how disappointed I never reali
until later. I had hurt him, but I dk
understand it then. You know, it takes t
a long time to realize that their pare
usually make good sense. Now, of cou j »
Dad thinks I’m just about the hottest th
since John Barrymore. I have to keep t
ing him that I still have a long way to j
Yet, if he still has a long way to go, ]
is aware that he will always have his ft
ily behind him, that through them he
always replenish his spirit. As a c!
friend said, “Bob’s parents gave him •
head and the confidence to use it. The;
not losing any sleep about what fame
do to him, nor are they worried about ’
going off the deep end. About the fart]
he’ll go is straight home to a golf g;
with the old man and to his moth
cooking.”
And therein lies his strength, for
years to come, until he marries.
The End
l
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(Continued, from page 66)
at Pati, who was doing anything but.
“He was so kind and gentle,” Pati said,
for her part.
The writer departed for a more tender
and tranquil time.
Which, with John and Pati, occurs just
as immediately. For all John’s speeches,
he will, of course, put leather around the
wagon wheel — “if there’s any danger.”
And the whole incident of the coffee
table is forgotten in joint jubilation that
the new powder room will cost a few
dollars less than they’d expected.
Familiar scene this — to young modern
marrieds from Keokuk to Kalamazoo —
and Hollywood, bent on building a home
and a marriage.
John’s artistry clashes every now and
then with Pati’s practicality. “I’m not as
practical as most people are,” he admits.
“I get myself up blind alleys a lot of the
time. Nothing major, just blind. But the
practical usually isn’t any fun. And be-
sides I don’t have to be. I have people
being practical for me. Like my wife.”
John has, for instance, always leaned
toward modern furniture. Pati loves Early
American. The last house was modern up-
stairs, with the downstairs Early Ameri-
can. But this redwood modern ranch house
with it’s enormous richly paneled living
room and the thick beamed ceilings cries,
John believes, for massive ranch modern.
“The furniture should have thick legs
to match the beams,” he says.
Pati agrees the other furniture has got
to go, but . . . “But I don’t think the
furniture should be that heavy — so heavy
it takes two people to move it.”
“You can’t move the old furniture by
yourself, either. Maybe on a slippery floor,
sliding it along. You couldn’t push it on
a rug,” John insists.
The unfortunate mention of a rug re-
minds Pati that being practical can have
its advantages. Such as that time she
helped John get the thoroughbred he
wanted by talking the price down.
“You wanted a rug.”
“Did I get my rug?”
“No,” John admits honestly, “but you
will.”
Not that money is too much of a do-
mestic issue. “John is very generous,” says
Pati.
John puts it this way, “I like pretty
things. And pretty things you have to pay
for. You can get ugly things for nothing.
But I like pretty things, unfortunately.
Like Pati,” he grins.
The good things of life you pay for, too.
And safe inside their own hacienda like
other young marrieds who live so close
and so constant John and Pati occasionally
ruminate on marriage. They discuss its
virtues and vicissitudes. And discuss
whether or not they’re paying too much
of themselves for their shared happiness.
John sometimes hears planes singing over-
head, or the imaginary whistles of freight-
ers bound for adventure. And there are
times, when the baby’s crying, dinner’s
cooking, Pati doubtless remembers a tal-
ented girl whirling on her toes to the swell
of music and applause.
John may philosophize, “Marriage is like
drawing up plans for a house. It looks
better on paper.”
Or Pati may decide, “You give too many
ultimatums. Either this or I can go ahead
and furnish the house by myself. Either
that or you will go.”
“ ^ haven’t gone,” John reminds her.
t And I don t give ultimatums,” he protests.
“When a sergeant gives an order, that’s
an ultimatum. If I did what I say I’ll do,
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93
conversation. Have I ever packed a bag?”
Whereupon Pati says laughingly that if
either of them could calmly pack a bag,
that would mean there was a good under-
standing. That would be good. “But a bet-
ter way I think, would be to run away
and call back in a couple of days when
you cool down.”
“Two days — and call back!” says John,
paling a little at the thought. “When I
ride horses and don’t call for three hours
— well! Two days — I’m not coming back.”
More fine conversation. They both know.
And why is the bag never packed? “I
wouldn’t like Pati to be unhappy,” says
John. “I’d worry about her. I’m weak that
way,” he grins.
He’s also weak when it comes to com-
promising. “Like this house. I wanted a
ranch,” he says.
“In Phoenix,” protests Pati. “He wanted
to move to Arizona.”
For all the talk he does about traveling,
John is now a home-lover. “He won’t take
a vacation alone because he would worry
about the whole family,” Pati says. To-
day, instead, this armchair adventurer
settles for a living-room safari with Russ
on his lap, watching “Ramar of the Jun-
gle” on tv.
John admits it’s a project to get him off
the homestead for a dinner party or a
night on the town. “When it comes to
that, I balk. I like people in small groups
sitting around our living room or theirs.
Friends. But crowd-hopping — from club to
club — the same crowd with nothing in
common and a lot of phony conversation
— that’s not for me. A safari to South
America — or even to Santa Anita — that’s
something else.”
Not for these two the routine problems
of some movie marriages. Not for John,
any heavy-handed husbandly bit about
Pati never returning to her career.
“John wouldn’t tell me not to, or inter-
fere at all,” Pati says. But if she did, with
his pride in her, John wouldn’t want her
to be half a success.
Nor does jealousy menace this handsome
pair. “I used to be jealous,” Pati says, “but
what good does it do?” Furthermore
there’s small need. John’s artistic eye is
caught by the contours of a coffee table,
rather than more provocative subject
matter.
According to her husband, he’s no target
for the glamour girls anyway. “You’re not
exposed to many, not in our crowd,” says
John. “And at the studio you work mostly
with the same group of girls in every
picture. All of them have known me for
a long time.” Not that John is insensitive
to beauty. “I know it’s there,” he says. “I
don’t find a pretty girl unattractive. Just
unavailable. I’m married.” And besides he
wouldn’t want to worry Pati. He’s weak
that way, too.
Gossip columns would have no success
separating them. “Pati soon caught on to
that, John says. “When columnists itemed
me as being in places I’d never been, with
people I’d never even met, when she knew
I was home looking at television with her,
they don’t bother her.”
Theirs is an active partnership in every
department. Each is intensely interested
in any project which concerns the other.
Even as John’s artistic eye is caught by
every detail of homemaking, Pati’s ab-
sorbed in all the facets of John’s career.
“Pati spells the profession and it’s prob-
lems,” John says. And he’s quick to ac-
knowledge her encouragement during
tough sledding, and when he decided to
freelance and not re-sign with Columbia.
“Everybody else was saying I was wrong,
but Pati went along with me,” John says.
“It was hard to believe I was right, but
she did. Although not as much as I did.
She was a little spooky about it.”
Pati shares his happiness that the big
gamble has paid off. That John’s getting
cream roles under his new exclusive con-
tract with Paramount, leading off with
the very challenging characterization of
the embittered cripple in “Run for Cover,”
in which he co-stars with James Cagney.
“The roles are reversed,” John says, “I’m
playing a Cagney part.” Paramount loaned
him to 20th Century-Fox for the role of
John Wilkes Booth in “Prince of Players.”
“That’s the best thing I’ve had so far,” is
John’s comment. And now comes the role
of Joshua in Cecil B. de Mille’s “Ten
Commandments.”
John is touchingly indebted to de Mille,
saying, “He was interested in me when
nobody cared.” And there will always be
a special place in Pati’s heart for de Mille,
too, for giving her husband faith and a
boost when he needed it most. Yet a typi-
cal misunderstanding happened the night
John came home from his triumphant in-
terview with de Mille — walking on air and
feeling ten feet tall. He found Pati in the
kitchen, and reported glowingly that Mr.
de Mille thought he had a very promising
future in the business. He was hurt and
furious when Pati said, “I’ve always known
that. I knew it all the lime,” as though
she were breezing it off.
“When I told her, she was working in
the kitchen with her head in the sink.
And she didn’t even take her head out of
the sink. That made me mad,” he recalls.
“You misinterpreted me,” Pati explains.
She was hurt, too. “John underestimates
me. He pays no attention to what I say.
My word doesn’t mean anything until
somebody else says the same thing.”
John is very sensitive where Pati’s opin-
ions are concerned. Let them disagree on
the reading of one line and the profes-
sional fur fairly flies.
“You give me no credit for knowing
anything,” Pati will say at such times.
“Even when I compliment you, you won’t
believe me. I was an actress in the busi-
ness, too, remember?”
“Well, in a round-about-way. You
danced,” her husband says.
“I suppose ‘The Dying Swan’ is just
fooling around. And I was acting in France
when I was six years old!”
“Who can act at six years old?”
“For some people acting is nothing. 'V
won’t take my opinion on anything!1’
“Yes I will.”
“On what?”
“On ballet,” her husband grins.
On occasion, when they have different
John will say finally, “Oh, Doll, everyth
would be just great if only you woi
agree with me. If you would say ‘Yes’ h
the time. Or if you must say, ‘No,’ if yo
only say it more gracefully.”
But in spite of John’s making noi
like a husband and intimating he’d 1
to be “Yessed,” Pati has grounds for doi
here, too. “If I agree with him, or i
tell him he is very good, then he does!
believe me at all. ‘You’re just not int
ested,’ he says. I’m so interested, as m\
as if I’m making the picture.”
As John says, “When you love son I
body — every word counts twice. A[
you’re twice as sensitive.”
And, as anybody who knows the Deni
knows, while honesty may not always
a peaceful policy, it amounts to a rejig
between them. What he wants and g
from Pati is the truth. He wants no hocij
pocus, no false flattery, no buttering
the ego.
And when it comes to an undiluted «
change of opinion, they admit they’re n
sonably consistent. They will, as Jc
says, argue about practically anythi
“And afterward we can’t ever even
member what the fight started aboy
Pati says.
They shared some concern about h;
ing any differences in front of the child I
until Pati’s doctor ruled, “It’s all right
argue in front of the children if you m;
up in front of the children also.” The d
tor “says it’s perfectly normal for pare!
to argue.”
Nor is it fatal for parents as long
they make up.
Ask John what he considers Pati’s rr
admirable trait and he says readily, “1
guts. She has so much intestinal fortiti
Sure, I may argue with it. But that doe:
mean I don’t admire it. Pati will alw
stand up for herself — and for me, I ho]
Ask Pati what she most admires ab
John and she says, “The main thing
that he can have such courage. He’s
definite in his beliefs. When John f<
anything, he’s not afraid to say it. Sure
have differences of opinion. What cor
doesn’t? If we agree on everything,
from one source, then why be marri
It would be like living with yourself, 7
the closest ones are always the most ci
cal. It’s better to blow up and get it
out of your system.”
On this they are agreed. Better to
frank than to bottle up emotions and
plode in a divorce court. And peace
any price is no good. “Deceit doe
last,” says John. “It bogs down and
not a marriage anymore.”
He, too, shrugs off their difference:
opinion somewhat philosophically. “TF
marriage,” he says, “when any couple
together as much as we are. Any
people who spend this much time toge'i
will argue. We’re together more than r
married couples. The average businessi
is away from home all day. On Saturc
and Sundays they go somewhere or 1
friends. But we’re together constantly.
No doubt about it. They’re thorouj
hooked, these two. And they lovei
Every loving, fighting moment of it. .1
in the clinches — that’s right where 1
are. The clinches. They’re both weak I
way.
Together — they’re finding roots
security.
The kid who never had a home or re
belonged to anybody and who was de
mined to make his own name is tc
prince of a celluloid world with loyal :
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94
; jects all over the globe. Pati, a princess in
blue jeans, ruling right where she be-
longs, beside him.
Their own kingdom commands a gentle
rise which looks towards changing vistas
—purpling mountains, a green carpeted
valley and twinkling lights. Their imme-
diate and loving subjects number two
horses, two huge German Shepherd dogs.
As John says, “If the two dogs were cut
jp they would make about fifteen small
dogs.”
Their baby daughter, Sean Catherine, is
:jueen of the whole works. “We’d decided
;f the baby was a boy, we’d name him
dean,” John says. Somebody suggested it
—and I’ve got a little bit of Irish in me,
;nough to make it legitimate. And I’d
jsed up my best friend’s name on Russ,
dean,” John says, “Somebody suggested it
;ute for a girl, too. Depending on the
girl of course. If she’s pretty and cute,
which she is. She’s a little doll.” Quite an
idmission from a man who once held the
opinion that all babies should be born
it least two years old. Today he’s the first
;o protest to Sean’s mother, “She’s not
ipoiled.”
And young Russ is the most important
hing in all the world to both of them. A
delicate child with his dad’s sweeping
ashes and coloring. At the moment, a
msy little boy making like a carpenter
n a plaid robe and red boots and wear-
ng a straw hat with a big marshal’s star
>n it. “It’s my carpenter hat,” he main-
lains firmly.
He’d just had his tonsils out two days
iefore. “Looks a little pale, but good. Just
'itting up — he looks good,” his father says
lowly, watching him. “Russ had really
lad it. All of it. Rheumatic fever. Strep
hroat. Now his tonsils out.” Born with a
eparation in his esophagus, with rare and
uccessful surgery and constant vigilance,
Russ survived his infant years. His throat
passage is smaller, and there’s half an inch
there with no feeling. No nerves. Ex-
plaining their constant concern, Pati says,
“He’s just a little boy. A piece of food
he doesn’t chew well gets stuck in his
throat and he can’t breathe. When he gets
older he will be able to take care of him-
self and eat anything. We can talk to him
and make him understand. But you can’t
explain to a very little boy. When he was
a baby, they could put his head back and
let air get into his lungs. Now they call
the fire department and the inhalator
squad.
With his love and concern for Pati, John
may protest about her being too concerned
about the children. “She confines herself
too close to home,” he says. “We could
have ten nurses and she wouldn’t leave.
She’s a great little mother, but I think
ninety per cent of the time she is over-
concerned. Other families have sick kids
and the mother gets away. Pati won’t
leave the house, not even for one night.”
But such minor disputes are of no mo-
ment against their many shared poignant
memories. Memories that make a marriage.
Those first months of Russ’ life when Pati
never slept — and literally willed their son
to live. Whimsical memories, for her, like
the IOU’s John gave her for Christmas
that couldn’t be cashed until he worked
again. The time John forgot her birthday
— and how he could forget a birthday right
between Lincoln’s Birthday and Valen-
tine’s Day — she couldn’t understand. “No-
body could forget that — February 13th,”
she’d wailed. The pound of fudge he
brought home later. “We were broke at
that time.”
They’ve made their six years of mar-
riage the hard way. But they shrug this
away. And they have no truck with other
marrieds who indulge in self-pity or dra-
matize “happiness” too much. “Too many
people kick the word ‘happiness’ around
too much. Worrying about whether they’re
happy or not,” John believes. “Marriage is
mostly companionship and children. You
get married. You make a home. You have
a family. There are some peak moments
— special times when you’re getting along
and laughing it up, when you’re not argu-
ing, when money is easier.” John’s grate-
ful for the first tough years of his life.
“When your parents separate, you know
you don’t have a family to lean on. You
know you must depend on yourself. It
toughens you to take life. It’s an education
a lot of kids don’t get until they’re men
forty years old. It’s an indoctrination for
life. And I got it young. Pati has matured
more than I have,” John says frankly. “We
haven’t really settled down yet. Not like
couples who’ve been married ten or fifteen
years.”
Both of them believe the worst is behind
them, and the best ahead. “It should go
easier now,” says John. “Russ will be
going to school this year and Pati won’t
be so confined. She can divorce herself
more from home and the family. Get away
more. And that will be good. Our argu-
ments won’t mean so much to her. The
little things won’t seem so important.”
As for their first six years together, they
both agree they’d stack them up against
most of the other marriages they’ve ob-
served firsthand. And well they can.
If forced to, John and Pati Derek would
do it all over again. They are, admittedly,
weak that way.
Together they’ve made a place for them-
selves in both worlds — the dream world
and the real world. Together they’ve found
their blessings outweigh the occasional
bedlam. As for the din — that’s marriage.
The melody of love.
The End
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many other expenditures to afford it. Not
that she even gave a second thought to the
sacrifice of clothes, a car or personal lux-
uries in favor of the little house. And she
has long since dismissed the memory of
them from her mind, now that she is Mrs.
Robert Taylor and next June, if all goes
as perfectly as she and Bob have every
right to expect, she will be the mother of
his first child.
“Which do you want, a boy or a girl?” I
asked her.
“Bob thinks he wants a daughter more,”
she said.
“But what about you?”
“I want whatever Bob wants,” she re-
plied.
This is utterly true. Take Bob’s hunting,
for instance. Bob’s a man who truly dotes
on getting up at four-thirty on a fall
morning, wading out to a duck blind, sit-
ting there for hours, and then shooting
away like crazy. Expertly, too.
Barbara Stanwyck, Bob’s first wife,
loathed outdoor sports. Hunting was not
for her or flying either. She didn’t mind
Bob taking his private plane up into the
wild blue yonder, but she stayed in Bev-
erly Hills.
I asked Ursula about these sports. She
loves flying. She’s learning to hunt.
“Imagine me, shooting those little ani-
mals,” she said.
“But how do you really feel about it?” I
persisted.
“Cold,” said Ursula, laughing. “It is so
cold before the sun rises, and it’s wet, and
the guns are big and hard to manage. But
I shall love it when I learn it well.”
She will, too. She’ll learn it and she’ll
love it. This is the girl who learned to
speak fluent English after a mere four-
months study. As for love, from the night
of their “first blind date,” except for one
very brief period, trying to make Bob
Taylor happy has been the most important
thing in her own life.
There have been many different stories
about how Bob and Ursula met. But it was
through the careful arrangement of their
mutual agent, Harry Freedman, that they
first became acquainted. It was the evening
that the Andrews Sisters were opening at
the Cocoanut Grove. Freedman invited Bob
Taylor. “I’ll come, but you’ll have to get
me a date,” said Bob.
Freedman then called Ursula. Being
Ursula, she merely said, in her deep, only
slightly accented voice, “Thank you very
much.”
She didn’t know whether or not Robert
Taylor was a wolf, but she had good rea-
son to be wary of wolves. Young, exqui-
sitely beautiful, a divorcee, a low-salaried
starlet at a major studio, a European, she
was all that a Hollywood wolf could ask
for. And that they had gone for her is no
secret. That they had failed was no secret
either. False love Ursula didn’t want — nor
a false career either.
Personally I think Ursula’s wisdom was
due almost as much to the hardships of
her war years as to her own inner strength
of character. For most beautiful girls life
is too easy. But Ursula grew up in war-
time Germany. Both her children were
born during those terrible bombardments
that literally pounded her native city of
Hamburg to bits.
She rarely mentions these war days,
just as she never mentions her first mar-
riage. Yet an occasional reference to her
work with a forced farm labor gang will
p slip out, just as when she first came to
Hollywood, she couldn’t keep from talking
about her children when she was with
friends.
Their Date with Destiny
This habit of talking about her children
ran counter to her studio’s plans. Their
idea had been to make a devastating siren
of her. Ursula wasn’t supposed to mention
Manuela, her slim lovely daughter, who is
now ten, or Michael, her son, who is eight.
Yet she missed them so desperately it was
all she could do to keep them out of her
conversation. They were, in fact, the chief
reason she had flown to America after her
photograph had appeared in Life and RKO
had offered her a contract. She was a top
German model then, but she knew that
any movie contract would let her earn
money that would support them all in
greater comfort.
Thus, when the Freedmans picked her
up for the opening night of the Andrews
Sisters, she didn’t know what she might
be about to encounter. But when Bob Tay-
lor put out his hand to shake hers, she
started back in superstitious awe.
His gold cuff links, she saw, were made
in the zodiac sign of Leo.
With her natural poise and reserve, she
didn’t tell Bob what had so startled her
about that, and as far as I know, she’s
never told this story before.
You see, when Ursula was twelve and
the very proper daughter of a prosperous
Hamburg businessman, she had her for-
tune read. It was only for fun, of course,
and she didn’t take it seriously, but she
remembered every word of it.
“Someday you will go far across the
sea,” the fortuneteller said. “You will
meet one of the handsomest men you haive
ever seen. He will also be rich and fa-
mous. He is to be your true love; you
will know at your first meeting for he will
be wearing the mark of Leo plainly upon
him.”
It was a fantastic dream and twelve-
year-old Ursula knew it. Later, when war
broke out, all dreams and all realities, like
her father’s wealth, their home, her school-
ing, even her young, impetuous marriage
were lost in the holocaust.
But the fortuneteller’s prophecy came
back to her as Robert Taylor’s hand
touched hers. For here she was six thou-
sand miles across the sea from her native
Germany. Here was one of the handsomest
men on earth smiling down upon her, a
famous man, a rich man. And she was
falling wildly in love with him at that
second, having no idea of the fantastic odds
she would be up against in capturing him.
Yet being the kind of girl she is, Ursula
Thiess’ second thought that evening was
purely emotional. “How lonely this man
is,” she thought. “How terribly lonely.”
And in that instant she lost her own lone-
liness in the maternal tenderness she felt
for this tall, handsome stranger.
Color portraits of Terry Moore by Powolny;
Bill Holden by Six; Virginia Mayo, Marla
English, May Wynn, Colleen Miller, Taina Elg
and Virginia Leith by Stern; Jeff Chandler by
Jones; Maggie McNamara by Powolny;
Marilyn Monroe by Ornitz; John Derek by Stern
The next day Bob called her. “I wondel
if you’d be free for dinner with me tomor
row night?”
Ursula was free. She was free two night
later, also, and the two nights after, an
two after that. And then the next nigh s
and the next and the next.
Thus it began. And thus, presently, be!
gan something else— the campaign of Bari
bara Stanwyck’s many loyal friends t
effect a reconciliation between her an i
Bob.
The campaign was as completely well
meant as the current campaign to ge
Nancy and Frank Sinatra back togethe
But the situation was entirely differen
Bob had been divorced for a considerabl
time before he even met Ursula, and h
marriage with Barbara had been shaki
long before he actually asked for h
freedom.
But because he was the one who wante
the divorce, he wanted to remain frienc
with Barbara. At the time of their fin;
parting, there was no other man and n
other woman in their lives. Their separst
tion was due to plain incompatability-
the drawing away of interests from or
another.
Barbara’s work is virtually her who!
life. Bob loves his work, too, but he h;
scores of other interests. He gets hig
pleasure from hunting, fishing, flyin
traveling, and all the outdoor-man activ
ties. He wakes with the sun and wouldn'
mind a bit if he went to bed by it. Barbai
is a night owl, the complete city girl — ;
tailored in her thoughts and reactions
she is tailored in the clothes she wear
With most of his films being made c
location, Bob had temporarily moved
with his mother when he became free. B(
fore he met Ursula, he dated only rare!
and Ursula had been correct in discernir
at their first meeting that he was loneh
He did the correct thing the evening
his second date with Ursula. They d
the night club circuit. The next time, th«
did the smart restaurant circuit. The thii
time Ursula suggested that she prepa
the dinner.
Now why on earth Bob Taylor shoui
be a somewhat shy man is one of tho
puzzles best left to the Freud departmei
He’s been a success from his very fii
entrance into Hollywood. And even at tl
start of his career, he was revealed n
only as an extraordinarily handsome pe
sonality but a superb actor when he a
peared opposite Garbo in “Camille.”
Today he earns better than $5,000
week, but he’s always kept out of the ma
Hollywood swing of things. And after
left Barbara, he shied away more th
ever.
If Bob was in for a surprise in di
covering that a beauty like Ursula was:
whiz around the kitchen, she was in 1:
exactly the same surprise where he wl
concerned. For him she made those i
credibly huge German potato pancak
To this day he can never get his fill :
them. For her he grilled steaks in a w
she’d never encountered before.
Recently while Ursula had been coi
pleting “The Americano” for RKO, B
had one of those rare intervals when :
wasn’t working. So every evening, wh
she got back from the studio, Bob wo\l
have dinner waiting for her, prepared
Bob, too. “One night we had a dish tit
I know takes five hours to prepar
Ursula told me proudly. “But there t
was.”
Back in their dating days, before E>
realized it was actually a courtship, i
found it increasingly more pleasant i
dine at Ursula’s. She didn’t at all mind
T^preferredtoea^iwsuclianunfashion-
able hour as six. Later they’d merely talk
or play records. And, if he went back to
his mother’s as early as nine, she under-
stood that, too.
This was happiness. And then he dis-
covered, date by date, it was even a great-
er happiness to share the sports he’d al-
ways loved with Ursula.
Of course, he did have to go away on
location trips. He went to England to
make “Knights of the Round Table.” He
went on location to make “Rogue Cop.”
Occasionally he took Barbara out to din-
ner. And every time he did, the columnists
made a big thing of it.
You couldn’t blame the columnists. It
was terrific copy, Bob Taylor dating his
ex-wife, and would they or wouldn’t they
reunite?
Bob wrote Ursula long letters from
England almost every day, and from “The
Rogue Cop” location, too. She wrote back,
equally long, true love letters. She had
long since moved into the little house, but
it was a black day for her when she dis-
covered herself so entangled with immi-
gration red tape that she could neither go
back to Germany to bring her children
over, as she had been led to believe she
could do, nor could immediately bring
them here to join her.
It was an even blacker day for her the
evening when Bob was due to go to Egypt
to make “Valley of the Kings” for M-G-M.
You see, that day Bob had happened upon
Barbara at a cocktail party given by the
Hollywood Women’s Press Club. Every
photographer in town was there and
^everyone of them photographed the two
together.
Thus later, when he came to tell Ursula
goodbye, she who had never wanted any
love that wasn’t true, told him it was
truly goodbye.
So pressed was he for time that Bob
didn’t even have the chance to argue with
her. But he wrote the moment he reached
England. And wrote. And wrote.
Ursula didn’t reply. Neither did she do
the flashy thing of being seen all over
town with a score of new escorts. A few
times she went out with George Nader,
whom she had known since she made her
first picture, U.A.’s “Monsoon.” More often
she stayed home alone, reading, or went
out for quiet dinners with married friends.
“I prefer being with happily married
people,” she always says. “Some of their
happiness reaches you and makes you
happy, too.”
The day that Bob returned to Hollywood
he phoned her. But, alas, she was busy
that night. But, no, not the night after
that. Would he come for dinner?
He would indeed, and he did. Only he
discovered, on arrival, that Ursula was
having dinner for four — he and she and
one of her happily married couples. The
couple stayed and stayed. And Bob stayed.
The couple finally left at 11:30 'and maybe
it is a good thing they lived in the im-
mediate neighborhood because it was
little more than ten minutes later when
Ursula was on the phone. “I am wearing
the most beautiful engagement ring you
ever saw,” she was saying, and she was
half-crying and half-laughing in joy.
It really is the most beautiful engage-
ment ring you ever saw, a great pile of
diamond baguettes. And her wedding ring
is designed so that it fits just under the
bottom of the engagement ring, and com-
pletes its design.
“I think I never knew quite so well what
a fine, thoughtful man Bob is,” Ursula says,
“as on our wedding day, last May twenty-
fourth. We flew to Jackson Hole, Wyo-
ming, because they knew Bob there from
his many hunting trips. And they prom-
ised to keep the secret of our securing
our license and planning the ceremony
there.
“It is, of course, most beautiful country.
But Bob especially wanted to go there be-
cause we could be alone. There is a vast
quiet lake. Bob had arranged for us
to go out on it, in a little schooner, just us,
our witnesses and the justice of the peace.
Perhaps there are other men who would
think of all those romantic details that so
charm us women, but in my experience I
have never known one before. I was so
happy. And Bob kept laughing at me on
the flight up because I kept rehearsing
and rehearsing my responses in the wed-
ding ceremony. I had to get every word
perfect so that my husband would under-
stand me.”
“Even the word ‘obey’?” I asked.
“Oh, yes, that one especially,” said Ur-
sula with a laugh. “And now we have the
baby to prepare for and our new home.
And my daughter, Manuela is here with
us. Bob is such a good father to her al-
ready. And all the details are untangling,
so that soon I shall be able to have my son
here, too.”
She stopped and looked down at the
beautifully simple sweater and skirt she
was wearing. “Bob bought these,” she
said. “He goes in shops and picks out sev-
eral models for me and then tells me to go
and choose among them. But I always like
best what he likes best. And he’s buying
most of the furnishings for our house, too.
He has such flawless taste. And on the
twenty-fourth of each month, our wedding
date anniversary, he always sends me some
present.” She paused. “Oh, I am so for-
tunate,” she said.
I agreed that she was. But I’m sure you
will agree that Bob Taylor is, too.
The End
m
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The Jig's Up, Maggie!
(Continued from page 42)
in virtual seclusion, shunning newspaper-
men, photographers and social events.
In fact, for the premiere of her first pic-
ture, “The Moon Is Blue,” which made
her a motion-picture star overnight,
Maggie hid in the projection booth. And
she skipped town for the opening of her
second picture, “Three Coins in the Foun-
tain.” The studio thought they had her
cornered when she promised to attend the
gala star-studded premiere of “The Egyp-
tian.” But at the last minute, a relieved
Maggie discovered that she had to start
shooting on her new picture, “Prince of
Players,” the next morning and, instead,
spent the evening at home studying her
script.
When Maggie did show up at the Hun-
tington Hartford Theatre opening it was
partly because she had been asked to by
director Elia Kazan, for whom she has
great admiration. For Maggie, Kazan rep-
resents that wing of her chosen profession
whose approval means a good deal more
to her than the glitter, glamour and giddy
success of being a star.
Even so, though, Maggie arrived at the
theatre looking more like a fugitive from
a math class than a film personality. “I was
dressed in old ballet slippers, skirt and a
tailored blouse that I’d worn all day,” she
admits with a smile that’s not in the least
bit sheepish.
The situation appealed to Maggie’s Irish
sense of humor, the only trait inherited
from her pure Celtic background. For in
every other respect, Maggie — a “black
Irish” who is moody more often than gay —
is as contradictory, unpredictable and non-
conforming as can be.
Like Marlon Brando and Monty Clift,
Maggie, too, wants to be accepted for what
she’s got inside rather than what’s on the
surface. The bane of her existence, how-
ever, is the word “cute” and it’s the one,
unfortunately, most often applied to her
pint-sized charm.
Flying back from California after finish-
ing her picture last fall, she was seated
next to a large and motherly woman who
recognized and insisted on complimenting
her profusely. Maggie is that rarity among
the human species, an actress who actually
enjoys adverse criticism so long as it’s hon-
est and to the point. But this well-meaning
lady thought Maggie was just about per-
fect. Maggie was “darling” and “adorable”
and — there was that fighting word again —
“cute.” “And what are you going to do
back in New York, dear?” she asked.
"Play Santa Claus on Macy’s main floor,”
Maggie replied tartly and returned to her
book.
Fortunately for Miss McNamara, though,
she isn’t recognized too frequently. When
she had to go to her studio’s New York
offices not long ago, she walked twice past
the desk of a young lady in charge of
publicity who’d tried vainly over the tele-
phone to schedule several interviews with
her. She’d never met Maggie in person and
didn’t recognize the girl in the simple cloth
coat, wearing large horn-rimmed glasses
and no make-up. “Who was that?” she
asked her boss after Maggie had left. “The
new clerk?”
Genuinely publicity-shy, Maggie resents
the ballyhoo and actually regrets the very
ease with which she’s gone to the top. A
friend of hers, a talented young actress
who is still struggling for recognition, re-
ports that Maggie was with her one morn-
ing when she received a heartbreaking
telephone call telling her that a plum role
that had been promised to her was going
to someone else. Bitterly disappointed, she
broke down and wept.
“Don’t cry,” Maggie said. “Don’t cry. If
you only knew how much I envy you now
“The crazy part is, Maggie really mcai i
it,” her friend recalls. “I can’t dig tn;
Maggie. Here I am, dreaming of one littl
break that will get me some attentioi Jra
meanwhile worrying about how I’ll pa
my bills each month, and Maggie envit 0
me. She’s got every part she’s ever rea jet
for, yet she’s actually sorry that it hasn
been more of a struggle — that it’s alwaj jv
been so easy.” ^
The secret behind Maggie’s unconven je:
tional reaction to stardom is probably he
uncompromising integrity combined wit ge
a complete and selfless dedication to he
art. Maggie is likely to wince at any sue
description of herself, finding it insuffer y,
ably pompous. Yet, by all indications, j,e
is nonetheless true. Hardworking, ambi
tious, always seeking to improve her ar ■;
Maggie is a dedicated actress in the re;
sense of the word. Acting is a passion wit
her, as it is with the majority of peopl
in the theatre, and a passion that has onl
a loose and indirect connection with an i
expectations of fame and fortune. Unlik
most others who succumbed early, how
ever, Maggie didn’t become stage-struc
until after she was in her twenties, wa
actually working on the stage and had al
ready turned down a movie contract. Als
unlike most other aspiring actresses, Mag
gie took a considerable cut in her incom
in order to accept her first profession;
part in a Broadway production.
The event that set off the chain reactio
leading to Maggie’s eventual movie fam
was the appearance of her face on th
cover of Life magazine. Maggie, a highl .
successful photographer’s model at th
time, graced the pages of fashion maga
zines with such regularity that it was vir ~
tually impossible to thumb through any (
them, from Seventeen to Vogue, withoi :
becoming intimately acquainted with he
“We’ve never had anyone like Maggi
before or since,” says Leon Rothenberj
successful manufacturer of junior fashion
“No one could ever ‘sell’ a dress like th; i
kid. Whenever we ran a magazine ad on
dress with Maggie modeling it, we could b
sure we had a hit.”
And photographer Jon Abbot, for whoi
she posed frequently, adds, “There w;
something ethereal about Maggie. She w;
shy, sensitive, withdrawn. Yet very swee
very lovable. She seemed to be forever i
a dream. But once you got to know he
you realized she had a brilliant mini
Quite an unusual girl.”
The step from modeling to acting is n<
as easy or as natural as it would appea
Few top models have ever made the grad
in Hollywood, let alone on the stage. Bi
the quality distinguishing Maggie as
model must have transmitted itself on th
Life cover effectively enough to arouse th
interest of David Selznick, recognized 1
be one of Hollywood’s shrewdest judges <
talent. The day the magazine appeared, h
called up from the Hampshire House, ask
ing Maggie to come up for an interview.
Mr. Selznick was impressed. When dram
coach Alice B. Young confirmed his opin
ion he offered Maggie a contract. But Mag
gie, then only twenty but already charac
teristically independent, thanked Mr. Selz
nick politely and turned down the offer.
“I’ve never had enough confidence to d
anything I wasn’t thoroughly prepared 1
do,” Maggie recalls. “I guess I was simpl
scared, not knowing the first thing aboi
acting. Besides, I had no particular desk I
to be an actress.”
Financially, it might be added, Selznick
offer didn’t mean much either. Maggi
was then earning around $20,000 a year ;
a model. But the purely commercial angl
as she was to prove later, didn’t influenc i
98
HHiraWJW ui m UlliUI. A Uilll <L
an actress had simply never occurred to
her and it took a little time to get used
to the idea.
As a child, after seeing a performance
of the Ballet Russe de Monte Carlo, she
i had briefly dreamed of becoming a balleri-
na. A friend of the family had staked her
to lessons and she’d studied with Martha
Graham for a while. But she gave up bal-
let when she couldn’t overcome her self-
consciousness. However, she remembered
fleeting moments when she experienced the
thrill of being able to express herself cre-
atively. Would it be that way with acting?
And could she really do it? Six months
after her interview with Selznick she made
up her mind to find out.
Selznick had stopped producing pictures
by that time, and Maggie, typically, didn’t
bother to look for a contract elsewhere.
Instead she set about learning to act first.
She went back to Mrs. Young and enrolled
in drama classes on her own.
Mrs. Young, who recalls Maggie as one
of the most serious-minded and conscien-
tious students she’s ever had, confirms that
Maggie didn’t seem much interested in act-
ing at first. “Maggie had to force herself
each time I asked her to act out a scene
for me,” she recalls. “Then one day she
jwas ready to go up on the stage and play
that scene with other students. I remem-
ber how she completely lost herself in it.
That was the moment she caught fire. She
.was wildly excited afterwards and she’s
'been an actress ever since.”
I Though Maggie had natural ability, she
;had to work hard at developing acting
techniques. Her voice, in particular, was
[thin and high-pitched, and Maggie spent
ijhours on end in her garden at Forest Hills
doing speech exercises. She studied with
Mrs. Young for close to two and a half
lyears while continuing her career as a
TTWOTmCtSPffig uicti uiTie, “lie set bumeumig
of a record by not missing or being late
for a single scheduled lesson, although
toward the end of her training she fre-
quently had to come in as often as three
or four times a day.
The unprecedented result of such un-
precedented industry was that Maggie was
hired for the lead of a Broadway produc-
tion on the strength of her performance
in a student play which was attended by
representatives of the William Morris
Agency. Maggie accepted, at a salary less
than a fourth of what she got modelling.
The play, an Irish fantasy titled “The
King of Friday’s Men,” folded after four
performances, but the experience did Mag-
gie no harm. Getting rave notices for her-
self, she came to the attention of Otto
Preminger who, after a reading, hired her
for the coveted part of Patty in the Chicago
company of “The Moon Is Blue.”
It was at this stage of her life that love
— up to then pretty much neglected by the
studious, earnest and self-sufficient Miss
McNamara — finally caught up with her.
David Swift, a young and successful tele-
vision writer who is one of the originators
of the popular “Mr. Peeper’s” show,
“Jamie” and the new “Norby” series on
tv, saw Maggie at the William Morris
Agency. He asked to be introduced and
immediately fell head over heels in love
with her. He was turned down the first
time he asked her for a date; recovered
and tried again the next day. They were
married eventually after an extended
courtship lasting all of nine days.
There was some reason for their haste.
Both of them were so busy they almost
didn’t have enough time for a wedding,
let alone a honeymoon.
David was up to his neck writing a new
television series. Maggie was rehearsing
during the day for “The Moon Is Blue”
auu‘ appeal ing in an equity raorary rhea-
tre performance of “You Can’t Take It
With You” at night. They managed to have
a brief wedding and a small celebration
at the apartment of friends. Next morning
at the cruel hour of ten, the bride was
back in the theatre rehearsing.
A few days later Maggie and David were
on their way to Chicago where they spent
the next thirteen months.
Maggie’s success in “The Moon Is Blue”
in Chicago was sensational. She topped it
off by a two-months run in New York,
subbing for Barbara Bel Geddes. Then
she went out to Hollywood for the film
version of the play, making her movie
debut on loan-out from 20th Century-Fox
who’d signed her to a contract some time
before. Her performance in the movie ver-
sion of “The Moon Is Blue” won Maggie
an Academy Award nomination.
For her second picture, her first with
20th Century-Fox, Maggie was slated for
a part in “King of the Khyber Rifles.”
Maggie read the script, didn’t like it and
gently but firmly put her foot down. To
teach her the facts of life, her studio coun-
tered with a suspension. Maggie didn’t
care and didn’t budge, finally winning her
point when her studio cast her in “Three
Coins in the Fountain” instead. The pic-
ture involved a fabulous trip to Rome,
further established Maggie as a star and
turned out to be a gold mine for her
studio.
Maggie herself isn’t enthusiastic about
what she did in “Three Coins in the Foun-
tain” but is happier about her third pic-
ture, '“Prince of Players,” in which she’s
doing scenes from Shakespeare. She’d love
to do a full Shakespeare play someday.
And she was thrilled with the high criti-
cal acclaim that was given her for a recent
reading of “Measure for Measure” at New
York’s New School for Social Research.
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Maggie has so far limited her stays in
Hollywood strictly to the requirements of
business, rushing back to New York the
minute her schedule permits. It’s because
she grew up on the upper West Side of
Manhattan in an almost exclusively Irish
neighborhood and considers herself a dyed-
in-the-wool New Yorker. She loves her
city most on Sundays and holidays when
the streets are deserted and lesser boosters
are apt to find it depressing. “It’s so peace-
ful,” she says. “You feel that the city
really belongs to you then.”
Maggie’s attachment to New York is all
the more remarkable as her childhood
there was far from ideally happy. Mar-
guerite Ann Mary — as she was christened
— was the third of four children, three
girls and one boy, born to Timothy and
Helen (Fleming) McNamara who emi-
grated to America from Counties Cork and
Galway respectively. Under the strain of
the depression years, Maggie’s parents split
up when she was nine and from then on
the four children, older sisters Helen and
Cathleen and younger brother Robert,
were supported on the mother’s slim earn-
ings as a beautician. Maggie was a timid
and solitary child who didn’t (and to this
day doesn’t) make friends easily and found
her greatest satisfaction in constant and
omnivorous reading. She got top marks at
the parochial grammar school of St. Cath-
erine of Genoa and later transferred to
the Straubenmuller Textile High School
where she concentrated on textile design.
Beginning to do professional modeling
while still in school, she took it up in
earnest after her graduation.
Maggie, when she is in New York, lives in
an unpretentious three-room apartment on
the East Side of Manhattan not far from the
United Nations, but facing away from
the river and commanding an imposing
view of ash cans, skyscrapers, office build-
ings and apartment houses instead. The
furniture is simple, modern and comfort-
able. On the walls there are some excel-
lent modern paintings and prints. There is
a television set and a record player with
stacks of records, both popular and clas-
sical, but one wall of the living room is
entirely covered with book shelves, con-
taining volumes from Aristotle to Zola,
and Beaudelaire to Berenson. Maggie, who
never was without a book in her hatbox
as a model, still reads constantly. “I sup-
pose it’s become a habit,” she says, “and
one I’m afraid is not terribly good for me.
I no longer feel particularly virtuous about
my reading. It’s a form of escape.”
One way in which reading has really not
been very good for Maggie is perhaps il-
lustrated by her attitude toward domestic
chores. She used to despise and neglect
them, automatically curling up with a book
instead. (She does her own hair and fin-
gernails, though, skills her mother taught
her.) Recently, she’s turned into an en-
thusiastic cook — for others, that is.
As for herself, Maggie usually has to be
prodded into eating and has been known
to forget a meal altogether when she’s not
reminded. Overweight is definitely not one
of her problems. Standing five-feet-two,
she weighs only ninety-six pounds and
wears a size seven dress that has to be
taken in.
Maggie’s trim figure is a gift of nature
though, and not the result of exercise. She
rarely feels the urge to exercise and, when
she does, she’s developed a technique of
quickly sitting down and waiting for it
to pass away. In California, where she
usually stays at the Beverly Hills Hotel,
it practically never occurs to her to use
the hotel’s beautiful swimming pool. Nor
have any other outdoor activities much
appeal for her. She smokes moderately
and drinks nothing stronger than Sherry,
but is happiest in a smoke-filled room with
a few intimate friends. She likes talking
to one person at a time and detests large
parties where that’s usually impossible. A
whiz at it, she’ll stay up all night playing
charades.
Maggie today is extremely successful.
But she still is almost as solitary as
she was as a child, seeing few people and
counting fewer among them close friends.
Generous, loyal, kind, a charming hostess
with an exquisite sense of humor and
enough brains to talk about any number
of topics with wit and grace, Maggie makes
a popular hostess and guest, but she pre-
fers to live simply and. quietly, hoarding
her energy for her work. This dedication
to her career, no doubt, can perhaps ex-
plain her recent separation from her hus-
band.
In less than four years as a professional
actress she’s gone to the top, establishing
herself as a star. Beauty and personality
have helped her in her career, but Mag-
gie won’t be satisfied unless she wins
acclaim for her talent alone. For Maggie
is an actress and an artist first and last.
Director Herbert Ratner, whom she’s
been studying with during the past two
years in New York while between films,
sees in Maggie some of the qualities —
especially the sensitivity — of the young
Laurette Taylor — qualities which made her
one of America’s greatest and most be-
loved stage actresses. He also compares
her talent to Marlon Brando’s, stressing
similarities in their approach, their orig-
inality and their creativeness. “Someday,”
Ratner says, “people will forget that Mag-
gie is a beautiful girl. They’ll only see that
she’s a great actress.”
The End
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you want to see in Photoplay
In color l ivant to see:
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(D_
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The features I like best in this issue of Photoplay are:
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ADDRESS
Paste this ballot on a postal card and send it to Readers' Poll
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That Girl Kelly and Me
(Continued from page 48)
hat she went about referring to the as-
ignment as “Grace Kelly sees the
Vorld!” (Grace wants to see the world
nd she will. Grace has purpose. And
iirection. She knows what she wants.)
limilarly, I was happy when, after -the
African safari, I made “Night People” in
lermany, “Sign of the Pagan” in Holly-
wood, then back again to Germany (the
iavarian Alps this time) and only re-
ently returned for William Dieterle’s
Magic Fire,” the life of Wagner in which
play Cosima Liszt, the daughter of Franz
,iszt and Wagner’s last wife. I loved the
art because as Cosima Liszt I go from a
ery enthusiastic eighteen-year-old girl
} a very strong sixty-year-old woman.
Both Grace and I are collectors of
ouvenirs. We become very atttached to
lings. In addition to our treasured rocks,
re also brought home from Africa suit-
ases full of pictures of native women
fashing their clothes on the banks of
ivers. Looking over our pictures one
ight we sat admiring the supple dark
>omen bending over the rivers’ dark
waters. “So graceful,” we said, “but thank
iod,” we added laughing, “we don’t have
) do that!”
We’re lovers of clothes, too, Grace and
We have lots of clothes, buy them in
ts and starts, great gobs of things, then
>rget all about them for six months. In
le daytime Grace wears skirts and sweat-
-y things and rarely wears a hat. Then at
ight she breaks out in lovely satin bro-
ided coats and beautiful feminine things,
i race always dresses very carefully. And
ways there is that look of freshness
lout her, the American finishing school
»ok, that very elegant and ladylike look.
I remember seeing her at the theatre
le night in a brown satin dress, long
hite gloves and pearls. Everything was
try right for her. Grace knows what is
ght for her and not only in the matter
clothes.
We both need glasses for near work,
race more than I — she’s really blind! She
n be pretty formidable with her glasses
1, too — looks like a pretty but very ef-
:ient secretary!
We’re alikes, too, in that we both choose
live in New York, refuse to live in
illywood. Though a Philadelphian, Grace
ves New York. She does most of her
cializing in New York. When she is in
allywood making a picture, she usually
nts a furnished apartment, but she
eaks of her New York apartment as “my
al apartment.”
f Very much like its tenant, Grace’s “real
■artment” is very feminine and senti-
jentally filled with souvenirs, snapshots,
etches, from each of her pictures. For
stance her rocks, which are reminiscent
her “Mogambo” and of Africa; a ban-
r from “Bridges at Toko-Ri,” and the
>nes Bill Holden brought her from
pan. From her “Rear Window,” she has
sketch of the set given her by the set
■signer; she has something from “Dial M
k Murder,” too, but I can’t remember
.st what. A plaque inscribed “To Our
■ vorite Country Girl” given her by the
3'3w of “Country Girl” is treasured as is
i other rock or two (veined with emer-
1*1?) in memory of “Green Fire.” And
Mery where about her apartment are pic-
IV*es of her family, her mother and
jher, her two sisters, her brother Jack,
rlr uncle, playwright George Kelly, her
kces and lots and lots of cousins.
; trace’s bedroom is all blue and white
H green, fresh bright colors which she
tbes and there may be, and probably are
pne stuffed animals around which she
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has bought for some kid. Very fond of
kids, Grace is closer to children than any
girl I know. Her miniature French poodle,
Oliver, who is an exceptionally well-
trained and happy little dog, clues you to
the disciplined but happy and free chil-
dren Grace will someday have and raise.
For a girl brushed by wanderlust, Grace
is the most all-round home-and-family
loving person I know. When she is in New
York she usually goes to Philadelphia
weekends to visit her family. She is very
close to them, particularly close to her
older sister, Peg. Grace works very hard
at her job, studies quite a lot, is a very
careful and conscientious actress. Real
dedicated. Yet she wants to live her life
on several levels, wants to have and in-
tends to have as full and rounded a life
as possible. With her deep family feeling
and love of children I think she would
certainly like to be married. And I don’t
think she’ll have any difficulty managing
marriage and career. Grace has clarity —
clarity of mind and of character and of
purpose. She has clarity about what she
has done in the past, what she is doing
now and will do in the future. She’s still
in the process of growing up and she
knows it. She also knows what she’s grow-
ing up to. If I could use only one word
for Grace, the one word would be clarity.
I think you can tell she has it just by
looking at her.
Oh, I don’t mean in the everyday little
things. Matter of fact, Grace lives much
the same disorganized life I do; more so,
if that is possible. Both of us like to
take long walks, long slow walks — desti-
nation nowhere. Grace is vague about
time, about dates. She sort of floats from
place to place, doesn’t take care of cor-
respondence right away, forgets to answer
telephone calls, forgets, like me, to put the
laundry out, too, which created something
of a problem during the two months we
shared an apartment (Grace’s apartment)
in Hollywood.
Curious how we got to be friends. . . .
We met on tv in New York at a time
when both of us were engaged in making
the rounds of the Crime Circuit — tv Who-
dunits, that is. Just what the shows were
I don’t remember. I do remember that I
was being always the bad girl and Grace
was being always the good girl and that
I admired her work and she, mine. Be-
tween scenes we’d sit around and mull
over our old modeling days in New York,
both of us having started out as models,
although Grace, who is always success-
ful in everything she does, had an easier
-
time of it than I did. While I worry mor
and am more easily diverted by extra
neous things, Grace is in the things the
matter, single-minded. She saves hersel
for the things that matter. In those earl
tv days we used to meet, now and ther
at parties around New York and were al
ways glad to see each other although w
were not close friends.
I remember very well my first impres
sion of Grace. I remember thinking, She
like her name — soft, yet strong, gres
inner resources and direction. She wa
also very reserved at first, very shy, yt
warm and responsive.
Grace was making “Rear Window” whe
I went to Hollywood to make “Sign of th
Pagan” and one day, quite by accident, w
ran into each other on Hollywood Boule
vard. After the usual How-are-you? Good
to-see-you, Grace suggested coming ove
to her apartment for coffee. I went ove
to the two-room apartment Grace ha
rented for the duration of the picture. ]
was done in modern style and Grace felt :
didn’t fit in with her taste. (Grace’s tast
in her New York apartment is for Frenc
Provincial, old pieces, and nothing, eve
though new, with the modern look.) Ove
coffee, we talked about our work, abox.
New York and how we missed it, abor
Hollywood, too. I admitted I was lonel
in Hollywood and Grace said ditto an
then, at her suggestion, I moved in!
Since I never went to college, the ol
roommate routine was something brand
new to me. I wasn’t too sure how it woul
work out for either of us. But speaking fc
myself, at any rate, it worked out com
fortably and congenially. One of the reau
sons Grace and I got along so well is ths
temperamentally we are different. But lik
unrelated ingredients in cooking, we com
bine well. She never loses that sense
control you feel in her, a soundness,
dignity. I find it very calming to be wit
Grace. She gives me something, somethin
fine which not many people can.
She’s fun, too, great great fun. She he
a marvelous kind of humor — a vagu>
whimsical humor, not the exuberant, life
of-the-party kind.
But although we are opposites, temper;;
mentally, our rhythm is much the same
we have a similarity of tempo in a wa;
Grace enjoys single relationships, for ir
stance, more than she does being th
center of the party. So do I. She is ex
tremely self-sufficient, enjoys being alon
So do I. Being self-sufficient, she doesn
make demands, of any kind, on other
Neither, I hope, do I. So, at any rate w
1
JEALOUSY NEARLY RUINED
OUR MARRIAGE!
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102
TeaTeHortiessiy, into a smooth routine.
Since both of us were working we’d
breakfast in the kitchenette at 6 a.m.,
usually on prunes! At the time we were
going through a diet routine. A mad diet —
only prunes, steak, eggs, and prunes! We
ate prunes all day long. Once when, char-
acteristically, we’d forgotten to order some,
we came home to a pruneless larder, were
distraught, went out in the dead of night
to buy some. We couldn’t find any so we
tracked all over Hollywood until we even-
tually found a store in the dreariest street
with prunes. Actually, while we dieted, we
cheated something awful. We nibbled and
gnawed. “Oh well,” we’d say, making in-
roads on a fat piece of pie, a hunk of cake,
'“just this little bit won’t hurt!”
Since exercising while dieting is bene-
ficial, we would exercise every night;
Grace in the bedroom; I in the living room.
Here, too, we cheated. We’d tell each other
we’d kept at it for the prescribed fifteen
minutes until one night I quit (not for the
first time) at the end of ten minutes,
walked in on Grace to find her prone upon
the bed (not for the first time) and the
truth came out.
We lunched, usually, at our respective
(tudios. Occasionally Grace would have a
late for dinner at La Rue or one of those
places. Now and then an intrepid male
would invite us both to dinner. Phil Sil-
vers, I remember, took us both out — and
Witch Miller of Columbia Records. More
iften though, we’d fix hamburgers at home.
Since Grace likes a lot of sleep — and I
,lo, too — we would usually sleep through
Sunday — all of it. When we woke, one or
he other would get dinner. We alternated.
Dne Sunday Grace did her spaghetti bit,
with green salad. Or, if in gourmet mood,
ler Beef Strogonoff. The next Sunday I’d
lo my Duck l’Orange with wild rice. And
always champagne. We would keep cham-
iagne in the house, nothing but cham-
pagne, even had it with our hamburgers
-which friends say has ruined my ap-
petite for humble beverages.
When we were invited out to dinner
Sundays sometimes we’d go, mostly we
wouldn’t. Since all the bachelors compris-
ng Hollywood’s Bachelor List were call-
ng, I’d sift all of Grace’s calls for her.
’requently she’d prefer to be “not at home.”
Not that Grace doesn’t like men; far
j rom it! After dinner in the apartment,
It Ve’d often let down our hair, talk — and
j, /hat did we talk about? Men, of course!
,j looks, too, music, our work. And we’d
,, ossip like mad. But mostly we talked
i: bout men. I think Grace likes handsome
len. She also likes field-and-stream out-
oor men. The big reason Grace and Clark
- lable were so congenial is that they love
utdoor living — the woods, the sea, fishing,
unting. They went on hunting safaris in
irica. Met lions, face to face, and on
iqual terms. What does Grace really think
f Gable? She thinks he’s charming,
i Grace has a pretty rounded taste. Matter
F fact, in men, she likes writers, directors,
lusicians, businessmen, artists, politicians,
:tors. And since she is very interested in,
:: ,nd knowledgeable about a variety of
: lings — music, dancing, politics, art and is
*' stremely well read, she talks to men on
'* leir own terms.
Coming, as she does, from a very con-
I irvative and fine family, Grace is fastid-
us about everything, almost to a fault,
he’s especially fastidious about her rela-
■' onships and is very reticient about them,
he definitely does not like to talk about
;r friendships or her romances. And to
ive her personal affairs mentioned in the
II iswspapers is a shocking thing to her. She
ay get over this, but I doubt it.
i When success comes to you in such
aps and bounds as it has come to Grace,
is likely to be staggering. Grace is sur-
,
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I have ever seen her about winning the
New York Critics Best Actress of the
Year (1954) Award. Here, again, Grace has
clarity — she distinguishes between the
laurels that are made of tinsel and the
green and lasting laurels that will grow.
Now that her success is on the level it
is, Grace is in process of reorganizing her
life. She is planning to take a larger
apartment. Instead of fixing herself a
frozen chicken pie or something, as she’s
been doing, she’ll have help. Up to now
she’s been living, in other words, like a
young actress without roots. Now her life
is going to be more organized, lived on a
larger scale, as befits a young actress who
has taken root in her life — deep and sturdy
roots.
I think, too, she will now be very dis-
criminating about the pictures she makes.
She mentioned the other day, “I’m not
going to do anything unless it is a good
part in a good script. Meantime, I’ll stay in
my apartment with my poodle and my
friends and my books and my theatre —
and rest.”
People will call this “temperament.” It
won’t be — merely a matter of taking what
she wants from the life instead of letting
the life take her over.
When she marries she’ll be the same,
only more so. No matter how high a level
her career has reached, she will never
live on one level.
Young as she is, Grace Kelly has already
asked herself, “What am I doing with my
life?” And she knows the answer. Which is
why success may change the four walls
within which she lives but will not essen-
tially change her.
bpirtU
t.Idi
J|C0K
test foi
ysl W3)
assist;
iterday'
Sort ol
‘Alik
parti
here
other
aitci '.
Grace is lucky, it’s true, because she
comes from a family of background and
money and protection so that she comes
equipped with strength. But you can
misuse this, you know, and she hasn’t.
The fact is that Grace is an exponent
of what we in the profession are now
and what we want to be. What we want is
to get away from the nonsense, away from $ ■ ::
the lush self-indulgence and extravagance
you read about in the earlier days ol
Hollywood that gave us no life at all, tc
something that does. We’re fighting in
very sane way to retain values, to make
the career work for us as well as we for it
so that we end up with some dough, some
life apart from the career, some health
and happiness.
Because Marlon Brando doesn’t fit intc
any cliche, he is called eccentric anc
crazy. He isn’t. He is trying to be
mature human being.
Because Grace doesn’t fit into any cliche
doesn’t carry a pet monkey on her shoul-
der, doesn’t go in for exhibitionism of anj
sort or kind, people say she’s cold, shy
She isn’t cold. Everything Grace doe:
stems from a very feeling person. But deep
feeling and real, not just for show. I’rr
sure Grace doesn’t say, or even conscious-
ly think, I won’t give any of myself tc
this interviewer. And I’m sure, too, tha
her success is enabling her, in a curiou:
way, to be more open and more giving o:
herself. Meantime, she is merely tryinp
to protect herself, to save herself for hei
life.
It’s a different era we’re living in, that’: Jhrooi
all. Of this different era, Grace is a shininp
example. She is gentle. She is a gentle
woman. She is very wholesome. She ha: |refe
the healthy thing. It is this, added to hei
natural talent, that has made her the stai
she is on-screen and off. For ask yourself
Is there anyone else in pictures like her'.
I think not.
The End
-
taeai
linst
lost i
ied i
he
i six
DOl
’You lu
part
fit
its.”
horn tl
ico. Me
of the
form
to. I
sidenti
Duke— Prince Among Men
Dev 21
t The:
sc s i
( Continued from page 54)
No one even mentioned the picture.
Duke admired the scenery; Budd gave us
a history of Mexico and the rest of the
group played gin rummy in the back seat.
The closest Duke came to talking about
the picture was to say that we were go-
ing south “to get the feel of Mexico.”
We got the feel of Mexico all right. Or
perhaps Mexico got the feel of us. Mexico
drew me like a magnet. I was magnetized
by the dry red earth, the white plaster
buildings glittering in the sun, the intense
faces of the people in the streets.
I got the impression that Duke felt the
same way. The last morning, I knew that
he did. We were standing outside the
training ring at a bull ranch, watching the
becerras, those dangerous little cows who
were being tested to determine whether
they had the courage and the strength to
become the mothers of fighting bulls. If so,
their sons would, perhaps some day in the
future, fight and die at La Plaza de Toros
in Mexico City.
“Fine country, Mexico,” Duke said.
“Damn fine country.”
I think he was searching for a word to
describe how he felt. There is such a word.
He didn’t know it then, nor did I. It’s a
word that has no equivalent in English, a
word that describes the way bullfighters
feel about bulls and perhaps the way that
bulls feel about bullfighters.
Simpatico.
The word is part of Duke’s vocabulary
now — and mine. But on that morning he
didn’t know that Mexico was to be sim-
patico to him or he to it. He just stared at
King i
lie oil
lexica
lonor
hist'
the other bull ring, standing in the ho
sun, watching the novice bull knock ove
the apprentice toreros.
Without moving, without turning hi
head toward me, he said, “Want to try ii
Bob?”
I looked into the ring. Baby bulls wh
weighed nearly half a ton. Bulls whos
horns weren’t big enough to slash wit!
but who pounded their opponents agains
the walls of the ring.
“Okay,” I said.
Then I stood in the ring, squintin
against the sun. One of the men tossed m
his cape.
I held the cape awkwardly in front c
me. I waved it at the bull, and he chargee
I jumped aside and turned to face hir
again. This time his horns caught my arr
and spun me around. Next time he di
even better; he hit me square in the stom
ach. Knocked off my feet, I rolled over o
the ground. I got up, brushed myself o
and tried again.
I was a novice, all right. When I finall
limped out of the ring, my arm bleedin
from a stone cut, I was still carrying th
cape. Duke took it from me, tossed it ove
his arm and walked slowly down the step
into the ring.
That is something that is integral 1
Duke’s sense of honor — his refusal to as
anyone to do something he is not willing t
do himself. Of course, he is such a super
natural athlete that this is something lik
a jet pilot’s inviting you to take his plan
up and try a few fancy rolls. Duke has th
walk of a panther and the coordination <
a cat and that day, when he had nev«
arouEd
rh
Cal
St of.
ads.
een in a bull ring before, the bull only
rushed him twice.
That was our last morning in Mexico,
'he picture had not been mentioned all
/eek. I didn’t really know whether I was
eing considered for it. I hadn’t been asked
d test for the part or to read for it, the
sual ways an actor gets a role in Holly-
/ood. I found out the next morning when
ne assistant producer called.
“Hey,” he said, “did you fight a bull
esterday?”
“Sort of.”
“All I know is, Duke says you got guts,
’he part needs a guy with guts. So, get on
ver here. You’ve got the part.”
I got on over, thinking as I drove that
0 other man in Hollywood would give
ne of the best parts of the year to a man
e had never tested on film but who
eemed to have passed some sort of private
1st.
Duke was waiting for me. “You lucky
tiff,” he said, looking down at me. I’m
ver six feet tall, but I’m still a good
iree inches shorter than Duke and a good
nirty pounds lighter.
j “You lucky stiff,” he said again. “I’d play
his part myself if they’d let me. But I
an’t fit into those blasted bullfighter
ants.”
From the moment we started the pic-
are, Mexico and John Wayne were sim-
atico. Mexico is a strange country, simple
n the surface. But violence and passion
e beneath that surface. Its borders dip
gainst the tropics, and strange things
oushroom from the earth in those places,
’he land is like that, and so are the peo-
le, and both accepted Duke as a friend
nmediately.
I Most of the people we met were con-
nected with the bulls in some way. They
/ere bullhandlers or bullranchers or own-
rs of the stadiums where bulls fight or
js toreros — the bullfighters. The bull-
ghters. They are more important than
residents, than kings, than movie stars.
They are not just a little more impor-
ant. There is simply no comparison be-
ween a bullfighter and anyone else. For
xample, a friend of mine was being driv-
n around Mexico City by a wealthy Mexi-
an who was proudly demonstrating his
ew Cadillac. Suddenly a dented car swept
round the corner on the wrong side of the
treet and crushed the Cadillac’s fender,
’he Mexican rushed to the other car,
houting insults. Then his shouts stopped,
n the other car was Silverio Perez, one
f Mexico’s most famous and revered bull-
ghters.
“Silverio,” the Mexican said, shaking his
and over and over, “mi compradote, what
n honor to meet you, what an honor.”
. Bullfighters, like kings, choose their
fiends. And the first time Silverio and
)uke met, Duke was chosen. It didn’t
latter that Duke spoke only six words of
Spanish and Silverio a few sentences of
Inglish. They were simpatico.
One evening Silverio threw a big party
t one of the bullfighters’ clubs in Mexico
’ity. It’s a tremendous restaurant, on the
/alls are bull heads and ears and tails,
lementos of famous fights. Duke and I
/ere the only Americans there.
We were led to a private dining room on
tie second floor. In front of each place was
bottle of tequila and a glass. Duke and I
i ioked at each other, wondering if we were
xpected to drink the whole bottle. I had
ried tequila once before and I knew it
ad something of the effect of raw alco-
01 and gasoline lit with a match. Duke
ead-panned me and I knew we’d drink as
ur hosts drank, even if it meant we’d
i ever be able to swallow again.
Silverio motioned for silence, and we
i/ere introduced to the ritual of the bells,
n this ritual, each man faces the man
next to him, links arms and then when the
silver bells are rung, drains his glass.
Luckily, this ritual didn’t last very long.
Then the speeches began.
When it was Silverio’s turn, he stood up.
“Only two gringos do I love,” he said.
“You Robertito,” and he put his hand on
my shoulder. “And you, Duke.”
Duke was standing, too, looking down
at Silverio who is a small, slender man
only half his size.
“You, Duke,” he said again and gave
Duke a firm abrazo— the embrace that to
the bullfighter is like the ceremonial kiss
a French general bestows on a man he is
decorating for valor.
Duke just stood for a minute, so moved
that he couldn’t answer. Then he un-
buckled his gold and hammered silver belt
and handed it to Silverio. Silverio put
the belt on, wrapping it twice around his
waist before it would fit.
This gesture probably cost Duke five or
ten fans. They were waiting for him in the
hotel lobby. He passed them by without
stopping, and I found it impossible to tell
them that he couldn’t sign autographs be-
cause he was holding up his pants with
one hand.
Bullfighting is an art, not a sport, and
the men who face death in the afternoon
and those who watch it have an accep-
tance of the facts of life and death. With
this acceptance goes a capacity and an
ability to live each moment furiously — to
get drunker than anyone else when they
get drunk and to be soberer than anyone
else when they are sober. These men took
to Duke, I think, because his code was so
close to theirs, so close to the basic, ele-
mental truth — a man should live each mo-
ment as well as he can and never cringe
before any.
Nothing ever angered him except in-
competence or pettiness. Faced with any-
thing else, he grinned and accepted what
had been dealt.
Duke seemed always to do the right
thing without thinking about it, and this
is difficult in a country that does not al-
ways accept Americans with open arms.
Once, we were having lunch at a bull-
ranch where we had just started to shoot.
Our food was brought in from Mexico
City, and our crew had taken over the
big ranch dining room. We had just be-
gun to eat when we saw a group of thirty
or forty children looking through the win-
dows and doors. They were dirty, thin and
obviously had never quite had enough to
eat.
Duke saw them, picked up his hat,
scoped about fifty or sixty sandwiches
into it and took them out to the children.
A few minutes later one little boy re-
turned with his hat. “Thank you for the
cake,” he said very slowly in English.
Duke bowed. “De nada,” he said.
“You’re very welcome.”
That was not a gesture. It was John
Wayne.
It was not only the bullfighters who
liked Duke. I noticed that a young Mexi-
can named Carlos always handled Duke’s
transportation, the shipping of cast and
crew to the ranches and towns around
Mexico City. And the car Duke rode in
was always driven by Carlos. I asked
Carlos about it one day.
“That Senor Duke, he said. “He is a
man.”
Then Carlos told me the whole story.
“He set me up in business,” Carlos said.
“The first time he comes to Mexico City,
I have only one cab. He wants me to take
him to a place someone has told him about.
I say, ‘No, that is too rough a place. That
is where the bandidos — the bad men — go.’
But he wants to see it. He wants to see
everything here. And so we go.
“At the next table a man throws his
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cigarette on the floor and points to Senor
Duke. Luckily Senor Duke does not un-
derstand what he says because he speaks
in Spanish. 'Vamonos/ I say to Senor
Duke ‘Let’s go.’
“The man says something worse, and
Senor Duke just stands there, big against
the room. ‘Tell me, Carlos,’ he says. And
so I tell him. I can do nothing else.
“Then Senor Duke hits the man and
knocks him half across the room and
stands there, waiting for the man to get
up. The man gets up, but when he comes
back, he has a gun in his hand. It is too
quick to do anything. He pulls the trig-
ger. And the gun does not go off. There
is no cartridge under the barrel. I think
I hear Senor Duke’s heart stop beating for
that moment, but he has not turned pale,
he has not cried out. Then I knock the
man’s arm aside before he can shoot
again, and Senor Duke hits him again.
This time he stays on the floor.
“Then I drive Senor Duke home. The
next day he sets me up in business. That
Senor Duke, he is a man.”
Four years have passed since that pic-
ture and that night in Mexico and, like
all of us, Duke has changed. Today I do
not think that he would, without think-
ing, pit his strength against a bull or face
an angry man with a loaded gun. Not
because he has learned to be afraid. He is
the only man I have ever met who is
not afraid of anything.
But he has accepted the discipline of
responsibility. Today he is aware that a
million-dollar investment would walk into
the bull ring with him. Six years of pro-
ducing pictures have made him aware of
that and of the multiple obligations that
he has.
On the set of “The High and the
Mighty,” my second picture for Duke, there
were none of the violent arguments, none
of the raucous gags. Duke was quiet and
serious. More often than not he gave in-
structions, criticisms or suggestions in a
low, quiet voice. He seemed subdued, per-
haps a little older. More mature but no
less a man.
His sense of fairness, his generosity, his
loyalty were still with him. I know that
they always will be.
He was the star of “The High and the
Mighty,” and he was its co-producer. If
he had wanted his name in letters eight
feet high on the screen, his name would
have been in letters eight feet high. In-
stead he specified that his name was to ap-
pear in all advertising the same size as
all the other stars’ names, because it was
a team picture. And Duke knows all
about team play.
r
a.-
■
An unwritten law says that a big si
will appear eighty per cent of the time
any scene he plays with a younger act
This is ensured by taking close-ups of t
star after the scene is shot. When I h
finished my big scene with Duke, he se
he thought it was swell.
“Okay,” Director William Wellman sa
“Let’s shoot those cover shots now.”
“No,” Duke said. “I think the see,,
went okay.”
“But we have to . . .” Wellman began.
“I’m tired,” Duke said and walked J
the set. “Go on to something else.”
Those close-ups were never shot. Du f
wasn’t tired. It was his way of telling r'
that he had liked the scene and that
wanted me to have an equal chance in .
on the screen.
Duke’s loyalty to his friends is legen<|
ary. On “High and Mighty” one morni;1-
someone came in with the news th
Duke’s make-up man, Webb Overland<
had broken three ribs in an automob
accident and was now in the hospital.
Duke finished the scene. Then
picked up his hat, turned to Wellman ai
said, “Shoot around me. I’m going to s
how Junior is.” He didn’t come back f
two days until Webb was out of dangefl
The only time he got angry at me, Pill
Palette had come unexpectedly onto til f
set and was motioning toward Duke. 9
was trying to get him to let me change a
couple of lines in a scene, but his miiil
kept wandering toward the corner of till
stage where she waited.
“Please, Duke, listen,” I said, and ];i.
blew up.
Then he grinned. “Sorry, Bob,” he sai-tf.
“Just wait a minute, will you?”
I watched him walk over to her. SI
said something and he smiled. Then
reached for her hand, held it and sto<
there a minute without saying anythir
When he came back, all the pent-up tensa
ness was gone.
“Quite a girl,” he said. “Simpaticc
Then, “Okay, what the heck are yc
standing around for? Let’s get back
work.”
“Come on,” I said, “the cast-iron dul
wants us to work.”
“Sure,” he said. “I’m the original ir<
man. I eat actors for breakfast eve
morning.” He grinned. “I’m tough,” 1
said.
I finished the scene and the next tin
I looked up, the original iron man w
serenely holding hands with his wife
the doubtful privacy of an unlit spotligl
There was an expression of peace on h
iron face.
The End
fii/J/o
V/HitO/t
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106
Changeable Lady
(Continued from page 53)
jr a table when John Housman, the di-
sctor, rushed up and said: ‘Hello, Joan,
lolly, it’s been a long time.’
“I looked up and said, ‘Oh, John, you’re
ke all the others. Just because I’ve
hanged the color of my hair for a new
icture, you take me for someone else,
oan who?’
“He stared hard at me and then his face
ushed up. ‘Honestly, Eleanor,’ he said, ‘I
lought you were Joan Fontaine.’
“Even my own children don’t know me
jmetimes if I come home at night still
earing make-up,” she went on. “Only
jcently my two-year-old son, Richard,
irank away from me when I tried to
ke him into my arms. But I couldn’t
lame him. I was wearing a Carmen wig.”
It is said at M-G-M, where Eleanor is
dw working in “Interrupted Melody,”
lat there are two Eleanor Parkers — the
■illiant, utterly convincing actress who so
stinguished herself in “Caged” and “De-
ctive Story,” and the serenely poised
)ung woman who is content to remain
rcelebrated in her private life so long
she is acknowledged to be a first-rate
:rformer on the screen.
| “Other than my family that’s the most
lportant thing in my life,” she said. “I
:ver go to night clubs and skip parties
the big ones, that is — when I can do it
acefully. I don’t like them. It seems to
|e that most of the people at these affairs
e unhappy. They must have some escape
jam themselves, I suppose, and find it in
jowds. For me there’s too much good
usic to hear, too many books waiting to
read and, thank heaven, so much work.”
It is, perhaps, Miss Parker’s chameleon-
ic ability to actually become the char-
ter she is portraying on the screen
rich has given her the wide diversity
roles in the twenty-five pictures she has
ide. Certainly one would scarcely sus-
ct that the same actress played the
;netic, half -demented girl in “Caged”
d the well-poised, clear-minded wife of
rk Douglas in “Detective Story.” The
o interpretations were as far apart as
ie poles, nor did the faces *of the women
en faintly resemble one another.
Unambitious, Miss Parker has no dream
le which pulls her forward in her career
e a lodestar. “I just want to be happy,”
ie says. “Money means nothing to me ex-
pt for the necessary amount one must
■ ve to live decently. Big fortunes, more
en than not, bring nothing but trouble.
I just want to go on doing the best
!>rk I’m capable of, raising my three chil-
en to be as fine as my own father and
>ther have always been, getting the most
ban out of today and not worrying too
Uch about tomorrow.”
I t has been said frequently that Eleanor
frker is hard to interview. “It isn’t that
t|! doesn’t want to cooperate, she’s just
unaware of the value of publicity that
! doesn’t know what to tell a reporter.”
lleanor agrees. “I never know what to
k about in an interview,” she says. Then,
lost all at once, she’ll begin, without
^ slightest hesitation, to talk.
Sleanor has definite ideas on almost
irything. Regarding the obligation of a
'former to his or her profession is one.
ny star,” she says, “should so conduct
or her private life so as not to bring
credit on the industry. I believe it pos-
le for an actress to have a personal ex-
:nce of her own, providing this is ac-
nplished with proper regard for the
>ple who have put her where she is —
public. Stars should never think they
/e grown big enough to ignore their
s'\
Vice nominated for her work in
“Caged” and “Detective Story,” as an
Academy Award winner, Eleanor has never
achieved that greatly coveted honor. But
this doesn’t in the least concern her. “If
an actress does the best she’s capable of
in every picture, she should have no re-
grets,” she said. “I think it’s possible for
a performer to set too high value on the
Academy Award. I’d like to win it, of
course — who wouldn’t? — but it will never
become an obsession with me. It’s fine
to hitch your little wagon to a distant
star, but failure to reach that shining goal
could end in bitterness and frustration.
I’m never going to let that happen to me.
“Take Mae McAvoy: she was one of the
biggest stars in the old silent days. Now
she’s working in a picture for M-G-M as
an extra. She looks happy, and that’s all
that counts. It’s more than security, posi-
tion or fame. It’s everything. All you can
do is do your level best and work at re-
sources within yourself to find a little
peace. My life is full enough, what with
maintaining that nice balance between my
work and my big job as a mother.”
Though Eleanor does not intrude the
subject nearest her heart — her youngsters
— into any conversation, they are never far
from her thoughts. She admits that long
separations while on distant locations are
hard to bear. In 1953 while in Egypt mak-
ing “The Valley of the Kings,” members
of the cast got together on Christmas Eve
for an impromptu celebration. Each was
called upon to do something in keeping
with the spirit of the coming holiday, and
Eleanor was asked to read Dickens’ Christ-
mas Carol. She was halfway through that
immortal story when the picture of her
own babies being tucked in their beds, on
this night of all nights for children, sprang
clear in her mind. “I managed to go on,”
she said, “but I don’t think it was one of
my better performances. My voice was
shaky and my eyes full of tears.”
In “Interrupted Melody,” Eleanor im-
personates Marjorie Lawrence, the great
star whose career was halted at its apex
by polio and around whom the story is
woven. In her role, impersonating Miss
Lawrence, it was necessary for Eleanor
to learn the words of all the arias of the
several operas used in the picture in which
Miss Lawrence appeared. “I had to be
letter perfect,” she said, “because, while I
didn’t actually sing the songs — I couldn’t,
of course — the movements of my lips in
forming the words had to ‘sync’ exactly
with those of the great soprano’s as they
came off the sound track. I learned three
operas in three languages during two
weeks. I drove to work in the morning
with the score propped up on the steer-
ing wheel of my car, and I woke up at
night to find I’d been repeating the songs
in my sleep.”
Unlike many stars who came into pic-
tures through a lucky combination of cir-
cumstances, Eleanor Parker never had any
other ambition. When she was very young,
she knew that she wanted to be a motion-
picture actress. At the age of five she
began putting on shows in the back yard
of her parents’ home in Cedarville, Ohio,
where she was born. Even then she seemed
to know precisely what she wanted to do.
She wrote the stories, selected the casts,
directed and always reserved the leading
role for herself. “The other kids weren’t
much interested,” she said, “but that was
all right with me. I just wanted to hear my
own voice anyway.”
Later the family moved to Cleveland,
and her parents, realizing that acting was
no passing phase with their daughter, ar-
ranged for her to enter the Tucker School
of Expression. In those days the principal
of each Cleveland school selected a pupil
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and recommended him, or her, to another
institution, the Rice School of Expression,
an organization which accepted only those
children who showed the greatest promise.
Eleanor is still doubtful if she evidenced
much talent. She was generally given the
role of an old witch or some other horrific
character.
With high school behind her and with
no thought in her young head of being
anything other than an actress, she en-
tered the Rice School in Martha’s Vine-
yard, an extension of the Cleveland or-
ganization. A mathematics teacher in the
Cleveland educational system, her father’s
income had never been large. So Eleanor
was forced to earn part of her expenses.
To do this she waited on tables, and did
anything else that promised a dollar.
“That’s where you learn about human
nature,” she says. “Even though you’re one
of a group, working toward a common
goal, put on a uniform and you’re a
waitress. It used to hurt me a little to be
treated in such an offhand manner by boys
and girls I knew by their first names in
school, but luckily I had sense enough
not to let it bother me. I accepted it as
part of the price I had to pay.”
With her eyes fixed on Hollywood as
the ultimate, shining goal, she finished her
course at Martha’s Vineyard and came
immediately to the Pasadena Community
Playhouse. Like many another hopeful,
she believed that there she would be “dis-
covered.” Hollywood talent scouts, she had
heard, kept a watchful eye on that famous
school of drama. It didn’t work out that
way. She was, indeed, discovered, but it
wasn’t while emoting on the stage. Actu-
ally, she was sitting in the audience when
a talent scout became more interested in
her green eyes, red hair and almost trans-
parent skin than he was in the play he
had come to see. He interviewed her on
a Tuesday, a contract was worked out on
Wednesday and she signed it on Thursday,
her birthday.
For the next two years Eleanor studied
with drama coaches, posed for photog-
raphers, and made rare, brief appearances
before the camera in minor roles. Her first
starring part was in “The Very Thought
of You.” This was followed by such diver-
sified portrayals as “Of Human Bondage,”
“Escape Me Never,” “The Voice of the
Turtle,” “Caged” and “Detective Story.”
Her three favorite pictures are: “Caged,”
“Detective Story” and “Above and Be-
yond.”
Hanging in Miss Parker’s dressing room
is an oil painting of herself, jean-clad and
crouched before a record player. The pic-
ture is by Paul Clemens, Eleanor’s husband
and a famous portrait painter.
Eleanor’s romance with Paul Clemens
began prosaically enough. She had learned,
through friends, that the painter’s portraits
possessed a deep luminosity, bringing forth
the subject’s spiritual qualities as well as
the physical likeness. Inherently shy, she
hesitated calling on him personally, but at
last overcame her reluctance and climbed
the soaring flight of steps which lead to
his studio at 1903% Orchid Street in Holly-
wood. When she met Clemens she had
no thought of romance. In fact, she was
just recently divorced from her second
husband, producer Bert Freedlob.
Clemens, immersed in a spate of work,
was not eager, at the moment, to take on
another assignment, but a second glance
at his caller dispelled all doubts. She was
smiling at him softly and he almost
dropped his palette. “When can we be-
gin?” he asked.
“It was one of the most exciting sit-
tings I ever had,” he said. “The portrait
was to be small — just the head and shoul-
ders— and while I was doing the pre-
liminary sketch, we talked. I found that
she possessed a lively and intelligent
curiosity about my work; had none of the
usual easy but superficial patter which e
great many people employ to cover theii
abysmal ignorance about art. What she ;
said made sense.”
Before that portrait was finished, Elea-
nor and Paul had drifted into friendship:
Soon they were meeting in quiet little res-i
taurants and, occasionally, had dinner ai1
her house in Beverly Hills. “But I was
never allowed to stay long,” he said wry-:
ly. “Eleanor was working then, and wher
she’s making a picture she’s dedicated.”
During those evenings they talked o:
their work and of music. Both have largt
record libraries, and they made the always-
fascinating discovery that their tastes rar
in identical channels. Each was devoted t<
the same good books, liked the same grea-
musical compositions, both harbored in-
tense admiration for Frans Hals, the Dutcl
painter, liked the same actors and ac
tresses. And “one enchanted evening” the;
found out that they had met earlier. Thi:
had occurred at the house of a mutua
friend during one of those parties whei
guests swirl in and out.
“Oh, now I remember,” Eleanor ex
claimed. “You were standing there look
ing bored, and you said . .
“Yes, and you said . .
They paused then, and looked at eacl
other and laughed.
Asked about the portrait which hangi
in Miss Parker’s dressing room on th
M-G-M lot, Clemens nodded. “I did i
one afternoon while Eleanor was makin
her current picture, ‘Interrupted Melody
She was bent down before her recor
player letting me hear some of the lovel
arias that are sung so beautifully in ths
picture. It was an interesting pose and
— just did it.”
The artist rarely goes to the studi
when Eleanor is working. “She is con-
sumed by each role she plays,” he sail
“and I found out that the set isn’t th
place for reposeful conversation. The sam
is true of the commissary where the ac
tors and actresses have luncheon. Eleanc
and I tried it just once, and that we
enough. It’s pretty hard to tell a girl th
things that are in your mind when pre
ducers, directors and fellow -performers ai
constantly rushing up to the table wit
comments and ’ praise. It’s discouraging
On occasion, Paul brings unfinished woi
to Eleanor and to his astonishment, sh
often points out little flaws which he hirr
self had overlooked. “She has a discerr
ing mind,” he said, “and she never coir
pliments me on work that she feels isn
my very best. On the other hand, she
quick to recognize something really goc
and is generous with her praise.”
In the year that Paul has known Ele;
nor, there have been only two montl
when she wasn’t working. For Eleanor
now at the peak of her career as an a<
tress, with increasingly important rol-
being offered her by the studios. She ste]
from one picture into another — her ne
is “The Maverick” for Paramount — and si
finds it difficult to devote as much tin
as she would like to her children, Susa
six; Sharon, four and Richard, two. “I
probably a good thing for them,” she sai
“My father and mother are much mo-
strict with them than I ever was.”
Not long ago when she went into the
bedrooms to kiss them goodbye as she w
leaving for the studio, Susan piped u
“Mommy, please don’t go to work tods
Just tell the man!”
“How comfortable it would be if i
could brush our problems and duties asi‘
that easily,” Eleanor said. “But life isi
so simple. None of us, actress, salesg
or stenographer, can just ‘tell the ma
But perhaps that’s the fun of living ai
personal growth!”
The End
108
Average Score: Terrific!
( Continued from page 37)
e to good pictures. Is there such a
ing as loyalty on the part of fans when
i bad picture comes along? If your fans
icide you’re just like them — which they
n’t want you to be — you’ve had it.”
But Bill has nothing to worry about on
is score. He definitely isn’t just the guy
xt door. (He points out, “The guy next
or can be a jerk.”) Ardis, his wife,
ys, “The only predictable thing about
11 is his general unpredictability — in an
;eresting and exciting sort of way. He
is a delightful individuality, which makes
n sometimes inconsistent, sometimes
i adstrong. He has learned diplomacy the
j rd way, and his temper is usually under
,ntrol now, but it can explode like a
lcano. Little things get on his nerves.
: has no patience with someone who
ffs a special job, and that includes him-
f. In our almost fourteen years of mar-
:ige Bill has matured amazingly.”
He takes his responsibility as a citizen
•d an actor seriously. He has accepted
isitions in the Los Angeles County Rec-
ftion and Park Commission, the Coli-
i jm Board and Screen Actors’ Guild, and
I works hard in all of them. Bill’s in-
;rity would not allow him to take an
norary post. He is a champion of his
low actors, saying, “To err is human,
d stars are members of the human
;e. But if an actor makes a bad bed, he
|s to lie on the wrinkles.”
Holden and “solid citizen” and “pro”
synonymous. He is considered cour-
>us, never gushes, likes meeting people
id is good at ad-libbing. He is in the
) ten at the boxoffice. His career has
en planned carefully, but acting has not
sd up all his business sense. Along
th personal property, he owns 160 oil
'es in Illinois, more in Texas, blue-chip
ck in Paramount, Standard Oil, Allied
tists and 20th Century-Fox. He is vice-
asident of his father’s chemical-manu-
ituring concern; he is on the board of a
lias radio station; he is the very new
ner of his own company, Toluca Picture
bductions.
Holden is natural, unaffected, never em-
rrassed. His aptitude as a parent was
rned at the knees of his very fine
ither and father. Now, to his despair,
;y think they were too harsh and want
soften his discipline of his own children.
•. and Mrs. Beedle (Bill’s real surname)
e close by and are a part of the family
;. Thursday evenings are always spent
their home when the Holdens are in
vn. If Bill is away, Ardis goes. Bill
i Ardis enjoy each other. As husband
I friend he is the epitome of all woman
/outly hopes for. All these things are
1 Holden — solid, ’way above average,
Bmplary.
Hut the human pendulum must swing
I swinging go to the other side of any
n. Granted, Bill’s other side is not
id, lusty or exotic. However, it allows
1 solid citizen to exist with stability. Un-
1 Holden’s calm and poise is a pacer, an
Dulsive, generous, sentimental, high-
lpered, impatient, daredevil pessimist
1 optimist. Things happen to Holden—
i Holden happens to things. Like this . . ,
)ne day, Bill left his home with Hugh
Mullen, a long-time friend. The phone
rted ringing, and Bill went back to an-
“r it. As he said “hello,” one of those
ifornia earthquakes suddenly shook the
!Ise — and Bill. Clutching the phone to
| chest, he quavered, “Good Lord, Hugh,
having a heart attack!”
lugh knew his man and with sly and
lest humor remarked, “The application
any phenomenon, even an earthquake,
to his own person is a trick peculiar to the
artist.” Artist that he is, proud of his pro-
fession, Bill took the thrust good-
naturedly.
He’s usually able to appreciate a joke
on himself, as on the evening when he and
Ardis went to see one of his movies. They
were pushed and shoved and diddled out
of line until Bill turned a bright red and
roared, “I’ll complain to the manager!”
Ardis tried to placate him, but he would
have none of it. Turning to a breathing
tuxedo, he barked, “Who’s the manager?”
The tuxedo answered politely, “Mr. Mc-
Connell.” After an enraged search, Bill
found the manager’s office and stomped in.
The tuxedo and Mr. McConnell were one
and the same. “I’m the manager,” he said.
Bill stared blankly for a minute and then
snapped, “Mr. Holden, my name is Mc-
Connell and I want to tell you that — ”
The manager interrupted him, still po-
litely. “No, no, my name is McConnell.
Yours is Holden.” That took all the fight
out of the fighting Holden.
And he’s willing to tell a joke on him-
self, too. As guest speaker at the Friars
Club, he regaled the members with this
story of a flight to Washington. Bill was
traveling with Leon Ames, the well-known
character actor. As a stewardess ap-
proached with coffee, Bill said, “She’s
going to dump that in my lap.” Leon pro-
tested that the hunch was superstitious
poppycock. Naturally, the plane lurched
and Bill got the coffee in his lap.
The story drew a laugh from the Friars.
Just then, a waiter passing behind the
speaker tripped, and there was Bill Holden
wearing the latest thing in allover choc-
olate sundaes. At least, he consoled him-
self, the waiter’s timing was perfect. It
would take more than that to upset Bill’s
composure as a public speaker.
He’s also a very good impersonator —
once a year. When the Paramount Christ-
mas party rolls around, he loses his re-
serve and does hilariously funny imitations
of everyone on the lot. But it’s affectionate
ridicule. At a press party in New York,
Holden heard a woman blasting Holly-
wood with a verbal barrage. He ap-
proached her and said quietly, “Madam,
you don’t know what you’re talking
about.” That shut her up for the evening.
At a cocktail party in Havana, Bill took
more drastic means to stop an unpleasant
trend of conversation. He’d been staring
gloomily out the window toward the
ground, several stories below. Suddenly,
he lunged out and stood on his hands on
the outside ledge. This changed the sub-
ject! Furthermore, it took Ardis quite a
while to get him to come back in and
stand on his feet. Physical exertion has al-
ways been an outlet for his anger. In the
heat of a discussion, he has been known
to pick up a cane and start jumping over
it forward and backward.
If his co-players in “The Country Girl”
had known him better, they wouldn’t have
been so startled after he fluffed his lines
in a tense dramatic scene. Bill’s reaction
to his own fluff was to begin method-
ically jumping up and down on the floor.
He then jumped to a chair, from the chair
to a table, from the table to a bed. Quietly
and furiously he jumped up and down on
the yielding bedsprings until, with one last
magnificent leap, he cleared the set and
disappeared completely.
Bing Crosby and Grace Kelly watched
his exit with openmouthed awe. But
director-writer George Seaton turned cas-
ually to the cameraman and said drily,
“Did you pan in and get all that?” George
knows Bill Holden.
So, of course, does Ardis Holden. She
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had her first warning when she was a
successful actress known as Brenda
Marshall and Bill was courting her. He
told his intended bride: “There may be
times when you don’t know whether to
kiss me or crown me. But, no matter
what, I don’t think our marriage will be
dull.”
That was the understatement of 1941.
As Ardis says, “It’s been a ball.” They
were both working when they decided to
get married. Knowing they were in for a
long separation if they didn’t marry right
away. Bill chartered a plane for Las Vegas
one Saturday night. And the bridal party
was under way: Brian and Marjorie Don-
levy, Bill, Ardis and the pilot.
The Vegas field was closed, so they
landed on an Army air strip that hadn’t
been cemented. Walking in the dirt a mile
and a half to the air terminal, they found
it closed. Bill finally got a cab to come
out and take them to town. The open-all-
night office for marriage licenses was still
open at 2 a.m., but the girl was out hav-
ing a bite. They chased her all over Vegas,
found her and got the license. The Con-
gregational Church, where they had made
arrangements to be married at midnight,
was closed. They found the pastor at the
hotel, but the bridal suite had been given
to someone else. Bill and Ardis were
finally married at the foot of a double bed
in a single room by a one-armed minister
who turned the pages of the Bible with
his chin.
Ardis left that day for location in On-
tario, Canada. Three and a half weeks
later she returned, expecting to be carried
over the threshold at last. But her bride-
groom had departed hours before for loca-
tion in Carson City, Nevada. A few days
later, Bill came back suddenly — to the hos-
pital, with a violent attack of appendicitis.
On the ninth day of his convalescence,
while Ardis was making one of her visits,
she complained of same pains, same place.
Bill pooh-poohed the thought with “You’re
having sympathetic pains.” He jokingly
suggested to the doctor that she should
have an examination. The doctor took
Ardis into the next room, examined her
and came back. He suggested that Bill
get up and give Ardis his bed. She, too,
was scheduled for an appendectomy.
Two and a half months after that fateful
wedding in July, Bill and Ardis finally
looked across the breakfast table at each
other as man and wife, thankful that they
hadn’t waited to marry because they would
have been separated. The blending of two
strong personalities was on. Bill took
naturally to being a father to Ardis’ little
girl by her former marriage. Virginia,
called Deedee, took naturally to being a
daughter to Bill. Before the honeymoon
was over, war was declared and Bill en-
listed, in April of 1942. During the period
he spent in AAF officers’ training and for
the remainder of the war, Bill did his duty
and kept quiet. He came home to see his
first-born son, Peter Westfield. He took
one look and said, “Honey, he looks like
an ugly Wally Beery.” Returning to camp,
Bill felt an increasing urge for freedom.
When he got home, he had too much
freedom. Although under contract, he
wasn’t used for eleven months, and he be-
came a brooding, unhappy man. Ardis
finally went back to work when Bill de-
spondently admitted that he was artistically
and financially busted. This was the only
rough period in Bill’s career. Then along
came a picture offer, “Dear Ruth.” It was
a smash, and Holden was golden again.
That rough period helped to shape the
Holdens’ marriage. Bill is the dominating
force, but Ardis has a definite personality.
She is outspoken, capable of error and the
first to admit it, and sometimes tells the
truth even when it galls. But she can also
take it and loves someone to stand up 3
her. In Bill she found the one to do it. I
By then, little Scott Porter had joirol
the family, and Ardis made her decision
“If you aren’t with your children in tl
formative years, you really suffer a gre
emotional loss.” She gave up her care;
and concentrated her talent on readii
scripts and feeding Bill his lines (he h
a great respect for her ability and wou
like to do a picture with her).
Together they take the character
Bill’s script and breathe life into it. Wh
was the character’s childhood? What a
his likes? Dislikes? How would he rea
to certain situations? Sometimes the stir!
ulating soirees go on until dawn. Whi
they finish, the character Bill portrays f|
fully alive.
At first, Bill was stuck with what 1
calls “Smilin’ Jim” parts. “You cat:
travel,” he says, “if your vehicle is
jalopy.” But with “Sunset Boulevard” tl
jaunty juvenile began to disappear.
“Stalag 17” he lowered his voice to fit tl
role, and suddenly the public recognize
the depth, maturity and strength of 1
acting and pushed “Smilin’ Jim” into o
livion forever.
Before this recognition came, Ardis ai
Bill found their home in San Fernam!
Valley. It is a lovely 18th century Engli
country home on a quiet street. Of tl
three bedroom suites upstairs, the boS
have the largest, Deedee has her bedroc
and bath, and Bill and Ardis took the ei
rooms so they could convert a seconi
story sun porch into a large dressing roo:
Downstairs, a big living room and a small
den are obviously the rooms where tl
entire family really lives. Bill had a higl
fidelity system piped in for his recori
long before it became popular. The pc
and the cabana are the meeting place f
the neighborhood kids.
Bill and Ardis seldom go out. They e:
joy family life and having friends in. Th
love to entertain small groups of frienc
Bill mixes the before-dinner drink, i
connoisseur of wines, he serves the wi:
with dinner. Quite often the meal will
buffet with no evidence of servants. T
children are well behaved and affectiona |
and come in for a “good night” all arou:
before taking off for bed. At parties, B
and Ardis believe in good conversati
rather than games. He’s an excelled
story teller. He has traveled so much
is never at a loss for a fascinating stoi;
They are good parents. Ardis watch
Scott eat his heart out at seven because
was too young to be a Cub Scout li
West. Finally, she decided to take on t
rugged duties of a Den mother so tf
Scott, being there, could be a part of
(Most Den mothers will shudder in syrl
pathy at this expression of mother love
Deedee is much too old for the juven.
antics of her brothers. One night, tl
teenager didn’t return home from a pai
at the exact hour specified. Bill started
pace. Finally, he worked himself into
frenzy of anxiety. It was Ardis w
calmed him, absolutely refusing to let h •
call the police and the hospitals. Bill vi
the perfect picture of the father realizi 1
for the first time that broken arms a:
Girl Scout trips were things of the pa
His litle girl was growing up.
Scott and West share a lusty sense
humor and on occasion can take the c
man. One day Bill was doing guard du
at the pool (unless someone else
present, no member of the family swim;
Holden had a date in town later, so
hadn’t changed to trunks. Fully dressi
he watched the kids (including the neig
borhood gang) frolic in the water. W<-
took to the board and did a jackknife. 1
broke the water cleanly, with was scarce
a ripple. Suddenly Bill realized that the
vas still no ripple. West had not come up.
Bill leaped to his feet and dived, fully
ilothed, into the pool. He found West
dinging to the side of an underwater out-
et, grinning like a young ape. When they
lit the surface the kids were doubled up
lakking at the sucker, now thoroughly wet
ind red-faced.
But the household is normally more
icaceful. Evenings start with a late din-
ler (Bill seldom gets home before seven).
Then he and Ardis go to the den and put
in some good music. He sinks into his
avorite leather chair, and they talk. They
lave never tired of talking to one another.
Jill discusses his day at the studio; Ardis
jets in the trials of being mother to two
lub Scouts and one teenager.
About Saturday nights, Ardis feels like
i small-town girl: She likes to be taken
iut. They go to a favorite restaurant in
he Valley, then visit friends, go to a
inovie or, when she can induce Bill, do a
little dancing. Sunday is their lazy day.
i’hey sleep late, breakfast on Eggs Bene-
dict or Oysters Rockefeller, read the paper,
liscuss the novel they’re reading together,
lay with the kids. The afternoons are
pent poolside, with the kids. They enjoy
barbecue outside to round off the day.
Bill is an excellent cook; he holds forth
lath the charcoal and garlic.)
The children are expected to earn their
llowances. West cleans out the pool,
cott keeps the patio and grounds policed
1 p. Bill feels strongly about boys learning
d earn and share.
The boys share their father’s spirit of
idventure a little too enthusiastically. One
lay, when West was five and Scott not
lUite three, Ardis looked up from her
/ork to realize that the sudden quiet was
minous. The boys had disappeared. She
ailed and finally ran outside. They an-
gered her from the rooftop, thirty feet
/bove the concrete driveway. They were
xing the television aerial, like — Daddy!
Ardis never calls Bill at the studio un-
|!SS calamity has taken over: i.e., West’s
Token leg, Scott’s broken arm, Deedee’s
l;rious burns. But the day the man came
) install the television set, Ardis decided
) call and get instructions from Bill. He
nswered the phone call with, “Who broke
j'hat?”
j Ardis used to buy clothes for Bill, but he
I alitely and firmly returned everything ex-
-pt a maroon robe that was so tailored it
lioked like an overcoat. Now she orders
othes put aside for him, and he runs out
a his lunch hour to buy or not to buy.
e has discriminating taste. One night
rdis added a pin to her costume, which
[ready included earrings and necklace,
arely glancing up from the book he was
lading, Bill murmured, “It’s too much,
rdis.”
Few poker-playing husbands want to
■eak their wives in on the game. Bill’s an
tception. After the war, poker was the
aly card game he enjoyed, and Ardis
,sed to sit in the living room with the
i her wives, listening to the din in the den.
ae decided she’d like to join the fun —
id, Bill was delighted. Bill loves to share
ith Ardis — even his wanderlust. With the
ds, they’ve made two extensive trips to
exico. And he dreams of taking the
hole family to Europe for a real holiday.
I When Bill got over the restlessness and
nsion caused by his career problem, itch-
g feet and insatiable curiosity took their
i ace. He wanted to know everything
lout the rest of the world. Paul Clemens
he artist recently married to Eleanor
irker) says, “Bill s the dream listener
r a returned tourist. When I returned
3m a three-month Caribbean tour, Bill
Etened avidly, devouring my experiences,
iter, when I returned from France, he
as ready to listen and absorb again. Be-
,
cause he planned to go everywhere, he
wanted all the second-hand information
he could get.”
Bill has a huge world map in his
dressing-room office. When he’s going to
travel, he reads about the place, its his-
tory and future in great gulps. He keeps
digging and rooting around, wangling let-
ters of introduction so he can reach un-
usual, out-of-the-way places and people.
Because his taste is elastic, he can enjoy
all cultures.
Wherever he goes, he buys for everyone:
producers, secretaries, grips, Ardis, the
kids (and himself). After his Far East
trip, he gave producer Irving Asher an
intricate and lovely Chinese cigarette
holder for his desk. Atop the holder, a
coolie carries the conventional stick across
his shoulders with a burden on each side.
The stick and burdens revolve. Bill set it
casually on Asher’s desk and, twirling it,
said, “I thought of you when I saw it. I
know a producer has to have something to
do all day.”
Ardis would love to go on all these
trips, but the wrench of leaving the chil-
dren is usually too much. When she and
Bill spent three months in Europe with
the Billy Wilders, she had a wonderful
time — after the plane left the airport. She
saves her tears for the trip to the terminal
after the goodbye to the children. At that
time Bill’s enthusiasm for traveling is
slightly dampened, too. But new experi-
ences have fascinated him all his life.
Even in his boyhood, being told was not
enough. He had to experience. When his
mother and dad returned to South Pasa-
dena after a trip to Minnesota in 1932, an
indignant note was conspicuous on the
kitchen table. It was written by Bob, age
eleven, in hearty disapproval of his four-
teen-year-old brother’s use of temporary
freedom.
“Bill has done the following while you
was away. He:
1. Smoked (got sick inhaling)
2. Swore (used the Lord’s name in vain)
3. Drove fast (wouldn’t let anyone tell
him)
4. Bossed (like only one in the world)
5. Dishes (said for me to set, remove,
stack, wash and put away)
Bible — Right Hand
Bob Beedle”
There was a drawing of the Bible in the
left-hand corner of the note to prove that
Bob’s wrath was righteous.
At sixteen, Bill still “drove fast” — for a
reason. He wanted to be good enough on
his motorcycle to join Vic McLaglen’s
corps of trick daredevils. The desire to
perform in the Rose Bowl and the Col-
iseum prompted his performances on the
street in front of his home. For admiring
crowds and a few bets he would stand on
the seat of his motorcycle with arms out-
spread and glide dramatically down the
street. This “Look, Ma, no hands” routine
made his mother doubt that he’d ever
reach maturity.
But during this trial-and-error period
Bill was also learning to become a re-
sponsible citizen. His father made the full
effort for his three sons: Bill, Bob and
Dick. He taught them the value of phys-
ical coordination and the ability to earn
their way. Their allowances were based on
their duties. Bill spent the summers work-
ing as a surveyor for his dad’s chemical
laboratory. His duties included unloading
feeds, plants, oils and fertilizer from ships
and trucks. He dumped full boxcars of
steer blood, fish or bone meal. He ended
those hot summer days with layers of the
smelly stuff clinging to his body.
There are more pleasant means of liveli-
hood, and Bill found one. Milton Lewis,
Paramount talent scout, discovered Bill
Beedle, twenty, making the part of an
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ill
eighty-year-old man believable at the Pas-
adena Community Playhouse. At the time.
Bill was going to South Pasadena Junior
College studying chemistry. As George
Seaton, his very good friend, puts it drolly:
“His choice was simple — acting or the
fertilizer business.”
Even though Bill decided on acting for
a career, Lewis had to be patient with his
discovery. It seems Bill Beedle couldn’t
come to the studio until he’d finished his
exams. Lewis was wise enough to wait.
Finally, Bill showed up, worked on a
script, screen-tested with a girl named
Rebecca Wasson, and got an option for six
months at fifty dollars a week with Para-
mount. The only history-making event of
that period was his acquisition of a new
last name — Holden, borrowed from a
newspaperman.
Bill’s first big break came while Colum-
bia was searching for just the right boy
for “Golden Boy.” They were also inter-
ested in Rebecca Wasson’s screen test. Bill
Perlberg, the producer, sat through the run
of the test and then commented, “I’ve
found ‘Golden Boy.’ ” From that moment
to this, Holden has been golden for the
two studios that split his contract between
them — Columbia and Paramount.
Even as a newcomer, he was not afraid
to express his opinions or roar when he’d
had enough. For “Golden Boy” he had to
learn to finger a violin and box and act as
well as dye and curl his hair. He would
take just so much of the daily rehearsals
and workouts at the Hollywood Athletic
Club, then come down with a thud and
refuse to do any more until the next day.
It was Barbara Stanwyck who did for
this newcomer what they say stars won’t
do. She worked with him, helped him,
gave him the best camera angles, finally
insisted on having the set closed when
she realized that the sudden avalanche of
interviews was completely bewildering
him. It was then that Bill formed both an
undying admiration for Miss Stanwyck
and a deep reticence with the press. To
this day, he sends Barbara roses on her
birthday.
With “Golden Boy,” Bill got his taste of
overnight triumph. He liked the flavor.
Sharing a small house in the Hollywood
Hills with his dialogue director, Hugh
McMullan, he started to work with a
vengeance. As they were close friends,
Hugh worried about the dedicated young
man he lived with. Bill worked constantly.
He drove himself with a grim determina-
tion. He was learning. He had to be better.
Bill’s basic values have changed very little.
Much later a reporter asked him, “What’s
your goal?” Squirming at the direct ques-
tion, Bill said, “I don’t want to sound
corny. I want everything to be better.
Personally, I think wanting everything—
and I mean everything, mind you— -to be
better is the Divine wish.” After this un-
typical revelation, he switched the subject
to his love for slapstick comedy, the Three
Stooges in particular.
Deciding that romance might sway Bill’s
one-track mind, Hugh carefully planned
dinners to include attractive stars and
starlets. Bill was charming, courteous and
not at all interested.
Hugh thought Bill might enjoy meeting
Brenda Marshall, who was going through
the throes of a divorce. But Bill was afraid
to become involved at that time, particu-
larly with an established star who had a
little daughter. When he ran into her on
the Warner lot, he changed his mind—
quickly. And Hugh’s worried about Bill’s
one-track mind faded. In fact, after Bill
had courted Ardis for twenty-two months,
Hugh had to find a new housemate.
Brenda Marshall, movie star, became Ardis
Holden, with a new career.
Although the Holdens were married in
’41, “Getting to Know You” did not become
their theme song until after the war, you
will remember. Then it was that Ardis
became a very wise woman and accepted
the eccentricities of her spouse. Oh, she
can level him if he overdoes. They still
have healthy arguments, but with under-
tones of humor and respect that make
these spats good outlets for two lively
temperaments.
Bill has some rather fascinating foibles.
He takes at least four showers a day. The
first, accompanied by a lusty baritone, is
followed by a loud stomping to the break-
fast room. He doesn’t eat much, but he
expects company at the table. When he
arrives at the studio, he takes another
shower. At noon and before leaving the
studio, he manages to wet down at least
twice more. He is sure that he catches cold
through his feet, and spent quite a lot of
time picking out the right rug for his
dressing room.
He does his own stunts in pictures. In
’41 he wanted to be a junior Gary Cooper.
He rides and draws his guns like Cooper.
He is a sentimentalist. Working fifteen
hours a day, he nevertheless found time to
design a gold medallion with two heart-
shaped hands pointing to the numeral
twelve — for Ardis on their twelfth anni-
versary.
He is inconsistent. He drove a second-
hand car (purchased from Lucy and Desi
Arnaz) for five years. He talked about a
sports car so much, however, that the kids
saved their allowances and presented him
with a box marked “Daddy’s car.”
On Christmas, Ardis handed Bill a very
legal-looking document (remarkably like
a divorce subpoena) and said, “Sorry I
had to do it this way.” Bill turned pale
green and took the document. It was an
order for a new Cadillac. When they went
to get it, he was thrilled and doubtful. It
was a Cabot gray convertible with an
extra continental kit that extended the
body another foot. “I guess it hasn t too
much chrome,” Bill said hesitantly, but
it’s sure going to make me feel like a
movie star.” He still feels conspicuous
in it. And yet in Europe he developed a
yearning for a flashy racing car loaded
with gadgets.
Tff!
bones and drums.
Holden is a man of varied interests. His:
paintings include many Paul Clemens pic- 1
tures (among them a portrait of the fam-
ily, over the living-room fireplace). Tou-
louse-Lautrec, Goya and Bangwyns’ “Th«
Feast of Lazarus.” His record collection in-
cludes everything from jazz drum solos tc
symphonies and classical (he doesn’t cart
for opera) . A gourmet, he likes hamburgei
with sour cream. He had a fabulous gur
collection, but gave it away when he real-
ized it was dangerous with growing boy:
around. He rides beautifully, swims wel
and submerges for half-hour interval;
with an oxygen tank in the pool to b(
alone. He has done ten pictures in three
years. Everybody swears by him and nc
one swears at him — an unprecedented rec-
ord for a man who’s spent fifteen years ii j
any business.
His children respect him because hi
knows Dale Evans personally. If he make; j
a Western, his stock will shoot up on thi
home front. In race-track lingo, he say i
his role in “Sabrina” was “by Brook ;
Brothers out of El Morocco.” He ha
mounted on his desk the Golden AppL
award from the Hollywood Women’s Pres '
Club for the most co-operative actor o
’51. Milton Lewis, the talent scout wh
caught that intangible spark in Bill Beedl
in 1938, prizes the miniature golden Osca
that Holden sent him after his “Stalag 17
triumph. Even more, Lewis prizes th ]
simple note that came with it; “We final
ly made it, Milt.”
Actually, Bill Holden is just at the stai
of a new phase of his life. Respected an
honored in the industry, he plans to con .
tinue to grow (he’ll eventually be a direc j
tor-producer) . At home, the volcani
rumblings are fading. He and Ardis ma
one day do a picture together. His hunge
for travel is being appeased. He and Ardi \
took off last Christmas for Greenland i
entertain the troops. He’ll entertain troop '
anywhere, but the mere mention <
Greenland brought that look to his ey
He has perfected his professional mannf j
to the extent that he probably believes \ :
is almost like any other successful busine: I
executive.
He’s the man who finished “Sabrin; j
Thursday evening, left for Tokyo Frids j
morning for “The Bridges at Toko-Ri” ar
arrived back Christmas morning ready f< 1
“The Country Girl.” Tired, he calk :
George Seaton and asked for a couple -
days off to go to Palm Springs and soe
up the sun. The holiday was granted. B;
the next day George got a call from Pal
Springs. “I’d like,” said the worn-out a' ;
tor, “to rehearse.” So Bing, Grace, Geor] <
and Bill spent that weekend rehearsing
a church in Palm Springs.
He’s the man who roars, “I’m going
Palm Springs alone and rest!” He is al 4
the man on the phone the next day beggii i
Ardis to join him.
He’s the man who made a game
walking the rail of Suicide Bridge in Pas <
dena — on his hands! He was ten then, b {
the spirit of adventure, lack of fear a
occasional deviltry have never left him.
Yes, some people say he’s staid, stuf i
dull and colorless. Others say he is i
breath of fresh air and wish we had me I
actors like him. Some say he wages v- :
on trifles because he feels guilty about 1 i
lack of real problems. Some say he cor ■
be a hypochondriac if he let himself gc I
but only between pictures. His good frie ;
Paul Clemens says, “Bill is at times 1 > i
own worst enemy. But since he is sucfii
good fellow at heart, he finds himstj
pretty slender opposition.
Everyone agrees that Holden is Gold1 .
And gold is a very colorful color.
The End
112
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Your JUNE issue
will be on sale at your newsstand—
MAY 5
PHOTOPLAY
MAY, 1955
FAVORITE OF AMERICA’S MOVIEGOERS FOR OVER FORTY YEARS
HIGHLIGHTS
“East of Eden”
Nighttime Belles (Inside Stuff) Cal York
Man Alive! (Tony Curtis) Hyatt Downing
Getting in Step for Marriage (Debbie Reynolds) Maxine Block
I’m in Love with a Wonderful Mom Tab Hunter
Some Wives Have Secrets (Janet Leigh, Doris Day) Gladys Hall
Look Who’s Smiling! (Stewart Granger) John Maynard
Every Day Is Mother’s Day
Bachelor Daze (Rock Hudson) Pauline Townsend
Oops! Your Error? Sheilah Graham
It Should Happen to a Lemmon! (Jack Lemmon) Dorothy O’Leary
That Do or Die Doll (Shelley Winters) Dee Phillips
He Lost His Shirt and Became a Star (Richard Egan) Ruth Waterbury
Pixie from Paris (Leslie Caron) Joseph Henry Steele
Burton- — The Welsh Rare Bit (Richard Burton) Martha Buckley
Ann Blyth’s Love Bank Robert Emmett
Hollywood Holiday . Fredda Dudley
Win a Hollywood Holiday
Photoplay Travel Fashions
Hollywood Fashion of the Month
Fun for Your Needle
37
39
40
43
45
46
48
51
53
55
59
61
63
64
67
69
70
72
73
108
114
STARS IN FULL COLOR
Mitzi Gaynor
...38
Tab Hunter. . .
44
Joanne Gilbert
. 71
Jane Powell
...38
Janet Leigh...
46
Milzi Gavnor
. 71
Rita Moreno
...38
Doris Day . . . .
47
Jane Powell
. 71
Piper Laurie
...38
Richard Egan.
62
Bob Francis
. 71
Kim Novak
. . . 38
Leslie Caron..
65
May Wynn
. 71
Debra Paget
...39
Ann Blyth. . . .
68
Jeff Richards
. 71
Tony Curtis
...41
Tab Hunter...
71
Barbara Kush
. 73
SPECIAL
EVENTS
Hollywood Whispers
. Florabel Muir 4
Let’s Go to the Movies . Janet Graves
20
Impertinent Interview
The Hollywood Story
Mike
Connolly 6
Shirley Thomas
22
That’s Hollywood .
Sidney Skolsky 8
Casts of Current Pictures ....
28
Laughing Stock . .
Erskine Johnson 11
Brief Reviews
32
Hollywood Parties .
. Edith Gwynn 13
Readers, Inc.
34
Cover: Color portrait
of Debbie Reynolds, currently starring in
M-G-M’s " Hit the Deck"
; by
Howell Coil ant. Other color picture credits on page 121
EDITORIAL STAFF
Ann Higginbotham — Editor Rena Firth — Associate Editor
Ann Mosher — Supervising Editor Janet Graves — Contributing Editor
Evelyn Savidge Pain — Managing Editor Margery Sayre — Assistant Editor
ART STAFF
Ron Taylor — Art Director
Norman Schoenfeld — Assistant Art Director
FASHION STAFF
Lillian Lang — Fashion Director
Hermine Cantor — Fashion Editor
HOLLYWOOD
Sylvia Wallace — Editor Joan Radabaugh — Assistant West Coast Editor
Contributing Editors: Maxine Arnold, Jerry Asher, Ruth Waterbury
Photographer: Phil Stern
MAY, 1955
VOL. 47. NO. 5
PHOTOPLAY IS PUBLISHED MONTHLY by Macfadden Publications. Inc., New York, N. Y.
EXECUTIVE, ADVERTISING AND EDITORIAL OFFICES at 205 East 42nd Street, New York 17. N. Y.
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Member of True Story Women's Group
2
IN RADIANT
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A screenful of
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HOLLYWOOD
WHISPERS
Piper Laurie’s rapidly blossoming ro- 1
mance. and her closest pals would not
be at all amazed at a Yuletide wedding -
for these two, with David due to doff
his Army uniform for civvies come No- ]
vember . . How Johnnie Ray, having ,
called it a day but for sure with Mari-
lyn Morrison, promptly latched on to i
Fran Bennett . . . The growing sus-
picion that Marlon Brando and Josanne j
Mariani-Berenger never will become
Mr. and Mrs. though they do get around.
•
About how the annual Photoplay
Awards party at the Beverly Hills Ho- "
tel, always the top event of the pre- i
Oscar season, provided a rich showcase <
for the hitherto hidden talents of Sue
Carson, who’s been on a real career 1
kick ever since . . . About Rock Hud-
son’s determination revealed in strictest I
confidence to a pal that he will surely |
not marry until lie’s thirty, nearly two ’
years from now. which seems to put j
Phyllis Gates, pretty secretary to Henry j
Willson, out of the running. And the |
growing conviction that the Gates gos- I
sip is merely to keep designing fe- |
males away from Rock.
•
The way a couple of screen newcom-
ers, Jayne Mansfield and Leigh Snow-
den have elbowed into the columns by (
sheer startling loveliness and charm, j
Both girls have the personality and
intelligence to make the big grade ...
And about Race Gentry’s indicated I
preference for Leigh’s company, a de-
parture for him because he’s been play- f
ing the field with a vengeance . . . I
Jayne’s steadiest boy friend’s devotion |
to her, and that’s something of a sur- I
prise since the b.f. is Steve Cochran. I
Rumors rumble Josanne and Marlon won’t wed
4
•TRADEMARK
with IEAN HERSHOLT * GRANT WITHERS * Produced by WILLIAM H.PINE and WILLIAM C. THOMAS • Directed by NICHOLAS RAY • Screenplay by WINSTON MILLER Si
From a story by Harriet Frank, Ir. and Irving Ravetch • A PARAMOUNT PICTURE
starring
JAMES
.m
as the man who teaches
VIVECA.
* «
and
There is a time to fight . . . and a time to . . .
COVER
JOHN
DEREK
that there is a time to fight .
and a time to run for cover!
5
If Susan has her way the future will be nice and peaceful
IMPERTINENT INTERVIEW
BY MIKE CONNOLLY
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It seemed an unwise time, under the
circumstances, to ask Susan what her
next husband would be like. But 1 had
read somewhere that Susan Hayward
felt inclined, if she ever married again,
to marry a writer. I had asked her
about that statement and she had ex-
plained: “Actually I don’t really know
what my next husband’s profession
will be simply because I don’t know
who my next husband will be!
“But I do know what kind of man he
will be.
“He will be the kind of man for
whom 1 will give up the acting pro-
fession. Yes, I intend to quit acting.
But only when I get married again,
and 1 won't marry for at least a year.
My divorce won't be final till the fall.
“I intend to quit acting because
there are so many other things I want
to do — have more children, for instance,
and travel. I have been working since
I was seventeen years old.”
I thought of Susan’s career: from a
third-floor walkup flat on Church Ave-
nue in Brooklyn to Hollywood stardom
and a lovely home in California.
“It all ties in. doesn't it?” she asked.
“Wanting a change, I mean. Things
always work out for the better, don’t
they? And now I want them to work
out again so that the man I marry will
figure very, very importantly. He will
love me for myself. He, like myself,
will want a long engagement. What do
l mean by long? Well, it will probably
be much longer than my first engage-
ment. which was for six months. It
may be for two years. On the other
hand, it may be for only two months!
After all, when the time comes two
months may seem like a long time, too
long a time. It will depend on the man.”
I thought of Jeff Chandler, Richard
Egan, Ned Marin and the others with
whom Susan has been linked.
“There’s no one — yet,” she repeated.
“When will there be one— the right
one? I would guess anywhere from a
year to three years.”
“And that’s when you’ll give up act-
ing?” I asked.
“Look. I love acting,” the radiant
little redhead replied. “But there are
other things in life, too — children, to
repeat, and traveling. I’ve found I
can’t combine them all. I’ve also found
that I like the old-fashioned idea of
the man in the family being the boss
of the family.
“He would also be a perfect father
for the twins. And he would want more
children. I’ve always wanted more.”
As for Susan’s social life: “My so-
cial life is very limited and, I suppose,
will continue that way. I’ve just fin-
ished ‘Soldier of Fortune’ with Clark
Gable for 20th and the spare time I
have I like to spend with the twins.
I like doing things with Greg and
Timothy and I love a home life with
them and a few friends.
“There are no romantic involve-
ments at the moment. It’s so nice and
peaceful for a change!”
6
How could
Rork drive her
out of town—
when he couldn’t
even get her
out of his
heart?
ITS A BLAZE OF EXCITEMENT THAT NEVER LETS UP
WHEN THAT LOVELY LADY LETS HER RED HAIR DOWN!
66
Warner Bros.
PRESENT
in 'Town"
CINemaScoPE
WarnerColor • Stereophonic Sound
PRODUCED AND
DIRECTED BY
MERVYN
LeROY
STARRING
r.DPTT?
DANA
CAMERON MITCHELL ^ LOIS SMITH wm. WALTER HAMPDEN • GONZALEZ GONZALEZ MfM
fHearthe voice of FRANKIE LAINE singing -Strange Lady in Town’ | Story and Screen Play by FRANK BUTLER music composed and conducted „< dim™ tiom™^
1
THAT’S HOLLYWOOD FOR YOU
1 don’t think Debbie Reynolds, June Ally-
son, Ann Blyth, representatives of the-girl-
next-door type, have to change their style
because Hollywood is on a glamour kick?
. . . Yvonne DeCarlo’s pet poodle, Billy,
sleeps in bed with her. . . . Many actresses
have told me they like to go for a walk
alone in the rain but I don’t know one
who has. . . . Terry Moore is rather quiet
these days — or maybe I shouldn’t have
opened my big typewriter. . . . Suggestion
for Gregory Peck: The book, “The Day
Lincoln Was Shot,” would make a great
movie. ... A meal tastes better to me when
I’m in a red-upholstered booth at Chasen’s.
. . . Lana Turner is looking more like Lana
Turner these days and nights. ... As for
p George Gobel, it was Marian Todd who
described him best: “He doesn’t look like
someone appearing on tv. He looks like
somebody who’s watching it.” . . . Vic Da-
mone is ticklish and doesn’t Pier Angeli
know it! ... There’s no actress as frank
as Shelley Winters. Recently she told me:
“The only way I’ll get to be a lady is to
marry a Lord.” . . . Newlywed Vera-Ellen
is learning, because she said: “No matter
how many ash trays I leave around, I still
have to empty the carpet.”
Janet Leigh, who’s lending her name to
a line of dresses, is the nicest advertise-
ment for a form-fitting dress I know. . . .
I sat next to Janet and Tony Curtis at the
Photoplay Awards Dinner. And Tony
won his Popularity Award as far as I was
concerned because he allowed Janet to be
with me. . . . Many newcomers were hon-
Most “request movies” are the kind < i
movies I’d never request. . . . Don’t hei 1 * * * * * * * 9
as much about Elaine Stewart as I use
to. Wonder why? . . . John Wayne doesnj
favor routine and likes to eat and drir I
when he feels like it and keep going unt :
real tired. ... My favorite characte |
Mike Curtiz, giving advice to an actor g i
ing to Italy: “When in Rome, do as tl So
Romanians do.”
I like to dine at Romanoff’s because <
its stock company, starring Humphrey B :
gart, Paul Douglas, Pamela Mason ar |
the Prince, himself. . . . They’ve got <
script for Jane Russell which has a scei j
in which she masquerades as a boy.
Jane is able to do this, she’ll win eve:
Award. . . . John Kerr, stage actor, cor
menting on his movie debut in “Cobweb’ i
“You sit around and sit around and s
around and then you work for ten minute
It’s harder on your bottom than your top
That’s Hollywood for You.
BY
SIDNEY
SKOLSKY
Keel’s crew cut — real crazy Frank’s the first to applaud
ored at this awards dinner, but an ui
known, Sue Carson, who performed, wi
soon be on this magazine’s popularity pol
Four studios tried to sign Sue the ner
day. It was a great audition for a vetera
night-club performer who could never g< i
any attention from the movie-talent scout; •
. . . I like the way Frank Sinatra appn
ciates a great performer. Frankie almoi
fell off his chair laughing at Sue Carson
impression of Jo Stafford.
I’m not against Grace Kelly as man ;
people, including Grace, believe. I thin
she’s beautiful, shrewd and just beginnin .
to develop. ... A few years from now I’ ■
probably go for her. ... No one can fe< ji
worse seeing a bad Marilyn Monroe movi i
than Marilyn Monroe. . . . Aldo Ray ha
sex appeal in “Battle Cry,” which is som< •;
thing Jeff Donnell has been shouting fc :
years. ... I miss bumping into Ava aroun }
town. ... I like Howard Keel’s new ere i
cut. ... Of all the actors I know, Mario i
Brando is the toughest to get to talk aboi ,
himself. Marlon says “Either my wor
speaks for me or I have nothing to say, j
and he sincerely means it. . . . Shirle i
Booth : Come Back, Little Shirley. It
about time we had another good movi ;
with this great actress! . . . Piper Lauri _
curls up when she sleeps and wakes u i!
hugging the pillow. ... It was starlet Joa
Tyler who told another starlet: “If yc :
think you don’t have a worry, brother- i
do you need to see a psychiatrist!” 1 j
No jealous husband is Tony, but he’s keeping an eye on Sid who seems to be monopolizing Janet
8
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LAUGHIIVG
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Humphrey Bogart’s young son, Steven,
watched, without much interest as his
mother, Lauren Bacall, emoted in a scene
for “Woman’s World” with June Allyson,
Van Heflin, Cornel Wilde, Arlene Dahl,
Clifton Webb and Fred MacMurray.
Between takes, Lauren whispered to
I Steven : “I know this is dull, dear, but
someday I'll do a movie with Roy Rogers
and you’ll be proud of me.”
On a night-club tour, Billy Barty did a
burlesque of Liberace. But in one town
Liberace wasn’t known — no television.
“Everyone,” says Billy, "thought it was
Jimmy Boyd imitating Gorgeous George.”
Art Todd overheard a babe tell her
night-club playmate: “1 think I'll have
another drink. It makes you so witty.”
Joe E. Lewis is singing it a new way:
“There’s No Business Like Win, Place
and Show Business.”
Overheard: “He has an impediment in
his speech. Every time he opens his mouth
— his wife interrupts.”
Zsa Zsa Gabor and Porfirio Rubirosa
i walked into a Westwood store.
“Look,” said a salesgirl, “there's Zsa Zsa
with Portfolio.”
Red Skelton in the Brown Derby: “I’ve
been seeing so many Westerns on tv I
have to sit facing the door.”
A weary prop man drawled it to Rod
Cameron when the film company was still
shooting at 9 p.m. after a long and busy
day:
“About this time of night your shoes
1 get awful full of feet.”
Why be just a part-time charmer?
Casting dancing cuties lor a filmusical,
a producer sent down orders about their
qualifications, height, weight, color of hair,
etc. Then he added :
“They must put a strain on a sweater —
but none on the imagination."
Name of a speedboat used for movie
water-skiing scenes at Balboa Bay:
“FANNY DUNKER.”
Overheard: “Fat? Why, she’s fat in
places where most girls don’t have places.”
Tab Hunter, about his first movie love
scene with Dorothy Malone in “Battle
Cry” :
“I had a horse in one picture and a
radio in another. I’m glad to get a girl in
a picture for a change.”
Mad tv show idea:
“You Bet Your Wife.”
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M.C. Dick Powell saw wife June get
top femme award at GM dinner
Jane W yman was honored for her per-
formance in “ Magnificent Obsession”
A brilliant comback last year earned
Van Johnson a special bronze plaque
HOLLYWOOD PARTY LINE
Photoplay’s Gold Medal Awards Dinner will keep me dwelling
m the dolls and guys whose glamour duds or quips furnished
lews during the hours they, and a few hundred famous others,
pent cocktailing and dining in the Crystal Room of the Beverly
fills Hotel. No gal in any room could have topped Photo-
'LAy’s top femme award winner, June Allyson, for sheer chic
nd simplicity, proving again, these two adjectives usually go
land-in-hand. June’s chalk-white gown of crisp satin billowed
'Ut from a wallpaper waistline, was tight-bodiced, very decol-
ete and held aloft with tiny shoulder straps. A roll-back cuff
■f the white satin, about two inches wide, finished off the bodice
cross the bustline and at the sides. But where bodice met
houlder straps in the back, the narrow cuff became flame-red
elvet, widening slightly as it slanted down center-back and
hen became a hanging wide red sash from waistline to hem.
Jo trimmings, no junk jewelry for Junie,just striking smartness.
Jane Wyman was simply done up. too, in her semitailored
dinner dress of creamy satin; its shortish skirt a mass of full-
ness. And. oh, that tiny waistline! Ann Blyth was sporting a
new hair-do that was half ftalian bob in front, half a large bun
in back. Ann’s gown was of iridescent blue taffeta. Another
Anne — meaning Anne Francis — was in black, a real smart job.
too . . Vera-Ellen gets lots of kidding about usually wearing
too much of everything, but she’s a doll and doesn’t give a dern.
Vera and her bridegroom, Vic Rothschild, held hands all
through dinner and the amusing entertainment. Vera was in
black lace, and she was wearing her blonde hair in a huge
bun at the nape of her neck. Around the bun were entwined
rhinestones. She also wore a big rhinestone necklace and
enormous long drop earrings of rhinestones. Jf Vera was
also wearing flowers pinned to her shoulder or to her bag f
or gloves, I was just too dern dazzled to note!
Continued
13
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HOLLYWOOD PARTY LINE continued
Jack Lemmon picks up his award from Jane Powell and Dr. McNulty were on
Photoplay’s editor, Ann Higginbotham hand to share with Ann Blyth her citation
Jane Powell, with a cute new short,
short haircut (not the messy kind!)
wore a very, very sophisticated full-
length red satin gown; Lori Nelson,
even purtier than usual, was in seafoam
green lace and taffeta, draped tightly
around her slim shape, and its skirt
featuring a huge bustle-type bow . . .
Barbara Rush looked more sophisti-
cated than one is used to seeing her, in
an Irish original. Jack Lemmon shone
in a plaid dinner jacket.
Jane Russell was in red with a stun-
ning black fox cape stole thrown over
her shoulders. However, the fur neither
hid the low, low neckline of Jane’s
dress nor the startling effect of her
completely shorn locks! Extra-startling
because Jane for years has been a hold-
out on cutting her flowing locks. Said
Jane, whose coif has a pompadour ef-
fect over the forehead but is shingled in
back, “I look like a female Tony Cur-
tis!” . . . Kim Novak almost went Jane
one better in the low-necked depart-
ment in her tight-fitting, long gown of
pink-mauve lace, cut to an inch below
the waistline in back! That’s where her
wide shoulder straps disappeared. Kim
was with Kerwin Matthews only be-
cause her real feller, Mac Krim, was
out of town. Dick Powell, looking over
Kim’s sexy getup, killed everyone by
cracking from the dais, “Kids that age
are so cute” . . . Dick did such a rib-
tickling job as master of ceremonies I
have to mention it. Like f’rinstance
when Ed Purdom’s award was an-
nounced and Purdom proved to be
missing, Dick flipped, “Oh — I know
where he is!”
In the glitter crowd that watched
both seasoned stars and newcomers get
their awards Judy Garland (in a plum-
colored velvet maternity dinner dress
topped by one of those tiny jewelled
lids she loves), June Haver and Fred
MacMurray, the Howard Keels (he
sporting the craziest crew-cut in town! ),
Anne Jeffreys and Bob Sterling, a
dream couple off tv as well as on!
Also Jeanne Crain, with her new inky
black hair and wearing a watermelon
pink, full-skirted floor-length gown.
And Janet Leigh in a coral to orange
Continued i
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HOLLYWOOD PARTY LINE continued
floor-length number of Jersey and net,
so tight-fitting from its high neckline to
hip that it revealed more of Janet than
a Bikini could! And she looked good.
Cute Sue Carson, an hilarious sing-
ing-comedienne long neglected by Hol-
lywood. got raves for herself at Photo-
tlay’s dinner when the Tinseltowners
brought her back for encores galore.
She not only wowed with her delivery,
but was deliciously dressed in decollete
sheath of simple white. Result: Sue was
positively deluged next day with pic-
ture offers from the many studio execs
who were present that night!
Well, I’ve used so much space on
the above that I’ll turn into “quickies”
a few affairs that oughta be longies.
(Wanna keep you up-to-date on every-
thing partyish in Jolly wood, y’know!)
Now then:
There was the offly chic soiree pre-
ceding the regular opening of the new
gorgeous Persian Room — also at the
Beverly Hills Hotel. Don Loper, plus
$80,000. managed to transform the old
Palm Terrace into a “modern miracle”
in a mere eighteen days. Ogling with
delight the elegant decor were some of
the best-dressed gals in town (lots of
’em dressed by Don too) and they in-
cluded Ann Miller with Bill O’Connor,
Merle Oberon and Rex Ross, Joan
Crawford, Jeanne Crain and Paul
Brinkman, Irene Dunne, Sonja Henie
and Alfie de la Vega and lots of local
socialites.
Jack Warner took over the Rodeo
Room to entertain for General 0. P.
Wayland. who was of such help in the
filming of Alan Ladd’s “The McCon-
nell Story.” Gary Cooper, June Allyson
and Dick Powell, the Jean Hersholts,
Virginia Mayo and Mike O’Shea, Terry
Moore, the Tommy Noonans, Dana An-
drews, cute Rosemarie Bowe (pining
for Bob Stack who was in Japan shoot-
ing “Bamboo Curtain”), Karen Sharpe
with Bill Guthrie, Diana Lynn, Doe
Avedon and Georgie Jessel were in the
crowd. . . . There was a star turnout
for Marguerite Piazza’s bow at the Co-
coanut Grove. She scored a smash hit
with such ringsiders as the Van John-
sons, Lana Turner and Lex Barker,
Piper Laurie, who was dating David
Schine (he raised you-know-what with
Jane Russell, with Bob If aterfield.
stopped the show with her low.
low neckline and short hair-do
Still at the hand-holding stage
were Vera-Ellen, aglitler with
rhinestones , groom Vic Rothschild
16
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HOLLYWOOD PARTY LINE
The MacMurrays shun night life hut
came out for that certain GM party
The Sid Lufts. Judy's tiny, jewelled
hats are becoming her trademark
photogs who tried to snap them),
Wanda Hendrix and her husband Jim
Stack, the Keefe Brasselles, the Spike
Joneses, and Sonja Henie who was
with Liberace. Liberace wasn't wearing
a polka-dot shirt with his Tux that
night. But he was sporting a diamond
ring in the shape of a piano! And
Mamie Van Doren (with Hugh O’Brian)
had a large rhinestone tiara atop her
head. Next night she wore it to Johnnie
Ray’s opening at Ciro’s and had a large
tiff with her date. Bob Neal, and left
the place by herself, leaving a couple
dozen people wondering whether this
is love!
There was a “Youth Night” premiere
at the Iris Theater in Hollywood for
“White Feather,” which boasts a lot of
younger players. Debra Paget, in pastel
pink, strapless gown with full skirt of
net, topped by a beaded long-waisted
bodice, was with Hugh O’Brian. Debra
was wearing the biggest, longest, wid-
est, chandelier earrings yet eyed — and
a new semi-short soft hair-do. Virginia
Leith. Jeff Hunter and Edward Franz
also helped host scads of high-school
boys and gals for the occasion. The way
those gals and fellas respond to the pic,
there’s all good reason to believe that
“White Feather” will be a hit. which
should make Jeff and Debra and Hugh
happy about what’s ahead for them in
their careers. They all did a very good
job along with Bob Wagner, who’s in
“White Feather,” too.
And now we get to what should be
called “The Henie Does It Again Par-
ty!” She sure did! Sonja took over all
Ciro’s for her enormous Circus Party
and l>elieeeve you me. traffic on the
Sunset Strip was jammed up before,
during and after the affair! Wot with
Sonja arriving on an elephant, a loudly
playing calliope and a bunch of snake
charmers performing with live reptiles
in front of the place, it’s no wonder!
Guests were routed from the usual caff
entrance so that they had to climb steps
and pass a big animal cage (contain-
ing a live hippopotamus, among othei
things) on the way in. The bar and
main room were transformed to a rep-
lica of “the big top” with trapeze anc
other circus artists performing during
dinner.
Sonja was a doll in her bareback
rider costume and handed out lavisl
prizes for the most original getups
etc. Mrs. Reggie Gardiner got one fot
her fantastic costume that “trans
formed” her into a trained seal! Au
thentic in every way — even to the blacl
flippers over her arms and a golder
ball on her head — anchored to th«
black sheath that covered her from tip
to toe. She also had bits of cellopham
pasted to her face to make her look
wet!
Judy Garland wasn’t in costume, wa
rollickingly gay and saying she alwayi
feels her best when she’s pregnant
Vera-Ellen was a fortune-teller; Cesa
Romero a Gaucho, Jane Withers
tramp clown; ditto Edgar Bergen
whose Frances came as a snake charm
er. Susie Hayward was an elephan
trainer. Zsa Zsa Gabor, in black robes
long black wig. dead white face an<
four-inch fingernails, came as Vam
pira; Peggy Lee came as a Tattooet
Lady; Jon Hall as Ramar of the Jun
gle — natch! Rory Calhoun was a Ring
master. His cute frau. Lita, and I wen
as twin bearded ladies. James Masoi
wore a big false nose that lighted up—
and nobody recognized him. Johnn!
Ray, Jeanne Crain, the Van Heflins
Janie Powell were others I glimpse<
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VV'VV' EXCELLENT V'V'V' VERY GOOD //GOOD k"FAIR
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PVW' An age-old theme, full of meaning for every humu
creature, is at the heart of this striking drama. It is the ne
for love, and it twists the life of a youth played by Jam
Dean, here making an arresting movie debut. His wild mod
puzzling to his father (Raymond Massey), rise from a lori
ing for his father’s affection. The boy is jealous of his sunr
natured brother (Richard Davalos), envious of the brothe
romance with Julie Harris. Julie, in her second film appei
ance, scores as a girl who has felt a lack of love in h
own childhood — so can understand Dean’s situation. As t
boys’ supposedly dead mother, Jo Van Fleet combines e
and pathos. Directed by Elia Kazan (who made “On t
Waterfront”), the film beautifully re-creates California towi
and countryside of 1917. adi
Deeply troubled, James Dean is comforted by Julie Han
Marty u
V'VVV Wonderfully warm and funny and sympathetic, tl
movie does a more everyday treatment of the same then
It’s a love story linking average, unglamorous people. Erne
Borgnine, whose stockade sergeant in “From Here
Eternity” brought him more sadistic-villain roles, sudden
convinces you that he’s a thoroughly goodhearted guy. I
plays a New York butcher, a solid citizen hoping to buy tl
shop where he works. A 34-year-old bachelor, who thinks
himself as “fat and ugly,” he spends evenings seeking entf
tainment with his Bronx cronies. He finds what he’s real
looking for when he meets a drab, shy schoolteacher,
lonely as he is — but complications arise. Betsy Blair joi
in making these scenes deeply affecting. Accents and bac
grounds are New York, but the emotions are universal, fami
With each other, Ernest Borgnine and Betsy Blair find ea
Blackboard Jungle m-c
kW As an underpaid, sorely tried big-city schoolteache
Glenn Ford faces shocking problems torn right out of today
headlines. A knowledgeable war veteran, he begins his teac
ing career at a boys’ high school in a slum section (appa
ently on New York’s Lower East Side). Greeted with sulk
or jeering defiance by his class, he tries doggedly to g
through to the boys, even after he’s been subjected to £
alley beating. Though it comes to a smashing climax, tl
story seems more like an article than a piece of fiction; it
bursting with controversial ideas and crusading indignatio
Glenn gets able support from Vic Morrow, as a frightenir
young hoodlum, Sidney Poitier, as the most promising sti
dent, Richard Kiley, as an idealistic teacher. But Anr
Francis looks too youthful as Glenn’s wife. famii
Glenn finally has a showdown with troublemaker Vic Morro
P
MORE REVIEWS ON PAGE 25 • BRIEF REVIEWS OF CURRENT FILMS ON PAGE 32 • FOR COMPLETE CASTS OF NEW FILMS SEE PAGE
20
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THE
HOLLYWOOD
BY SHIRLEY THOMAS
\ 'PC’s H ollywood Corrrspondcnt
I lie soldiers cheered themselves
hoarse and the sound of their applause
was like an artillery barrage. They
whistled, screamed and stamped in a
demonstration such as the ancient hills
of Korea had never witnessed. Every
one of them was fully armed, with a
loaded camera. “Hey. wait a min-
ute. . . .” they shouted. “Just one more
snapshot.” they pleaded.
The girl who had provoked the frenzy
was exhausted. Weary from the grind
of motion-picture production in Holly-
wood. fatigued from the long trans-
pacific plane trip and spent from the
mad, whirling merry-go-round of ap-
pearances before service personnel, she
stood and smiled. Each photo, she
thought to herself, is a small payment
on a big debt that can never be marked
“Paid in Full." Her love for the Army
went ’way back. And as she posed and
waved and smiled, her thoughts drifted
back in time. . . .
She was fifteen years old. Life, up
to that point, was something you lived
every day, but found little joy in doing.
You ate, you slept, you lived — if you
cared to call it living. You awoke each
morning and you knew that the new
day would be like hundreds that had
preceded it, with neither excitement nor
love, only insecurity.
Then, one day, the girl’s guardian
had suggested she find a job. to supple-
ment the meager income of the house-
hold. The guardian worked in a fac-
tory that made remote-controlled target
planes for the Army, planes invented
by the former movie star Reginald
Denny. She applied for a job there and
got one and she accepted her new duties
as she did everything else — as a matter
of course. Her job. however, was Strict-
Continued
PIS
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THE HOLLYWOOD STORY
continued
ly routine, packing parachutes for the
planes. She had learned all there was
to know about the job in two days and
then it. like her life, dulled into end-
less repetition.
An Army photographer came around
one day to take some photos of the fac-
tory operation. He hadn’t planned to
use any people in the shots, but when
he saw the girl he changed his mind, j
At fifteen, still immature, she gave
promise of the breath-taking beauty she
would become. She posed willingly —
any break in her routine was appre-
ciated.
That was how it all began. The Army
man’s photos led to a modeling job and
the modeling assignments soon stirred
the long-dormant dreams of becoming j
an actress. The next few years were
filled with hopes and heartbreaks as
she was signed, and dropped, by two j
major studios. She was close to her
great goal — and yet so far. Well, she
finally made it and the fruits of success
were all the sweeter for having been |
denied her so long. . . .
“Thanks a lot,” the soldiers were
Li
y
in
M
a
n
d
1 1
in
ob
le
ia
Lf
b
Hi
t
saying. “It sure was swell of you.” She
left the wooden platform set in the bare
desolate hills of the strange, foreign
land and headed for the waiting car
and another appearance. She turned to
the soldiers. “Thank you,” she said —
and she meant it. Thank you, she re- ,
peated to herself — for giving me the
start on the road up. for helping me to
discover the world is not a loveless cage.
The car sped away in the growing dark-
ness, carrying Marilyn Monroe.
Marilyn has the Army to thank
P
co-starring in
IT’S ALWAYS FAIR WEATHER
An M-G-M Production. In CinemaScope and Color.
Listen to Shirley Thomas from Hollywood on
NBC Radio in the Pacific coast area at 5:30 p.m.,
PST Sundays. Also to Shirley Thomas Reports
on Weekend, 3-5 p.m., EST Sundays , over NBC-
Radio. Consult newspapers for time and station
24
N/ION/I ES
Continued from page 20
ORE REVIEWS ON NEXT PAGE
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 32
FOR COMPLETE CASTS OF NEW FILMS SEE PAGE 28
EXCELLENT VERY GOOD VV GOOD V' FAIR
The Glass Slipper m-g-m, eastman color
'W Like Leslie Caron’s much-loved “Lili,” her new film is
i romance with a fairy-tale flavor, hut not actually a fantasy.
Leslie’s a little slavey scorned by her stepmother and step-
sisters; but, thanks to a mysterious old lady, she does go to
he royal ball; and she wins the heart of the prince. Yes, it’s
he classic Cinderella story, done in a mythical-kingdom
setting, with dances including a dream ballet. Michael Wild-
ng makes a dashing prince; Elsa Lanchester, a snippy step-
nother. But chief plaudits belong to Estelle Winwood. as
Leslie’s benefactress, more witcblike than godmotherly. She
ends a touch of earthy humor to the proceedings, producing
he ball gown and the famous coach with light-fingered ease.
Though the picture hasn’t the airy grace or the wistful
ippeal of “Lili,” it casts a spell of its own. family
)n first meeting, Leslie doesn’t know who Michael really is
Life in the balance 20th
Ian Without a Star U-I, TECHNICOLOR
yV A good, lusty Western casts Kirk Douglas as a rover
I'ho flees one range war only to run into another. The story
arks back to the days when the open range was being gradu-
lly fenced in with barbed wire. Scarred from battles over
lis development, Kirk drifts north and on his way acquires
protege. This is young William Campbell, doing an admir-
ble job with his first important role. A green kid. Bill learns
is lessons from the veteran gunfighter only too well. The
fo go to work on a ranch owned by Jeanne Crain, an
nscrupulous woman ready to buck all the decent local
inchers and graze her cattle anywhere she pleases, even at
ie risk of gunplay. Richard Boone’s appropriately tough as
gunman; Claire Trevor’s a likable fancy lady; Myrna
ansen pulls Bill toward respectability. family
ith Kirk coaching, William Campbell learns ranch skills
W Brilliant Mexican backgrounds and a genuine feeling
or human character lift this thriller above the usual sus-
lense film. Ricardo Montalban, able and attractive, is an
inemployed musician, a widower with a small son (Jose
)erez). When a feminine acquaintance of Ricardo is mur-
lered, he is suspected of being the maniac who has terror-
zed the city. Unaware of his plight, Ricardo pursues a
omance with pretty Anne Bancroft, a girl who’s also out of
job. Parallel to these gay scenes run the adventures of
ittle Jose, who has seen the real killer, turns sleuth to clear
iis father — and is captured by the madman. As portrayed
y Lee Marvin, even this ogre seems pitiably real, sick of
oul. The final chase scene, though impressively tense, is
ackneyed, but locales come to the rescue. family
'heir search ended, Anne and Ricardo see a cornered killer
K/IOVH EE SB
Continued from page 25
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26
White’ Feather 20th; cinemascope.
TECHNICOLOR
V''/'/ In a substantial Western sympa-
thetic to the Indians’ lost cause. Bob Wag-
ner is a surveyor trying to keep peace
with the Cheyennes. He’s involved in their
plight through his hazardously achieved
friendship with Jeffrey Hunter, the chief’s
son — and through love for Debra Paget,
Jeff’s sister. John Lund is the Army of-
ficer trying to negotiate a treaty with the
Cheyennes against the objections of the
fiery younger braves. Though Jeff, leader
of this faction, doesn’t look too much like
an Indian, his performance suggests the
called-for fierceness and pride. Scenes in
the Cheyennes’ camp show good detail,
vividly picturing a vanished way of life.
FAMILY
Cinerama Holiday de rochemont; cinerama,
TECHNICOLOR
V'V'V The second film made in this spec-
tacular process presents another exciting
travelogue on the vast triple screen. It
lias only the slightest of story lines, fol-
lowing two young couples as the Swiss
pair tours the United States and their
American counterparts see Europe. High-
lights include magnificent views of the
Alps, a dizzying bobsled ride and a take-
off and landing in a carrier-based jet. The
four young honeymooners (not actors)
are appealingly natural. family
Run for Cover paramount; vista-
vision, TECHNICOLOR
V'/'/' James Cagney’s solid acting assur-
ance and an offbeat performance by John
Derek give extra interest to an engaging
horse opera. Chance acquaintances on
the trail. Jimmy and John are mistaken
for bandits and nearly lynched. The
younger man emerges from the brawl with
a crippled leg that leaves him in a state of
bitterness and self-pity. When the towns-
people appoint Jimmy sheriff (by way of
apology for the mob’s error), he tries to
rehabilitate Derek by making him deputy.
A second attack by bandits leads to some
surprising plot developments and an ac-
tionful finish. Cagney and Viveca Lindfors.
as a gentle Swedish settler, share the quiet
love interest. family
Untamed 20th; cinemascope,
DE LUXE COLOR
FW With Susan Hayward as a sort of
bush-league Scarlett O'Hara and Tyrone
Power as a frontier adventurer, here’s an
epic of South Africa’s pioneering days.
Susan’s an aggressive Irish lady who. with
husband John Justin, joins the Dutch
settlers’ Great Trek into the interior.
Justin is killed when the wagon train is
attacked by Zulus. But Susan's undis-
couraged. for she’s had her sights set on
Ty all along. He, however, has dedicated
his life to founding a Dutch Free State
in South Africa. A contender for Susan is
brutish Richard Egan. The story leaps
from plot to plot, and there’s some fine,
ripe old dialogue. But the emotion-loaded
scenes are set against the magnificent
vistas a camera crew brought back frc
Africa.
Stranger on Horseback u.a., ansco col
V*/ For most of its length, this Weste
is suspenseful and pleasantly humoroi
As a circuit-court judge, ready to tu
law-enforcement officer if necessary, Jc
McCrea arrives in a small town ruthless
dominated by John Mclntire and his fai
ily. Joel finds that Mclntire’s arroga'
son (Kevin McCarthy) has literally gt
ten away with murder. So the judge s<
about the dangerous business of findii
enough evidence to make an arrest, j
the killer’s sister, Miroslava falls in lo
with Joel, and her allegiances waver. U
fortunately, the story comes to a rath
flat and listless ending. F
It Came from Beneath the Sea colum
VV Another science-fiction monster me I
aces humanity in this amusing thrill t
Ships sailing the Pacific suddenly disaj
pear without trace. A clue to the mystef
is found when an atomic sub under Kei
neth Tobey’s command rams an uniden j
fied sea creature in the depths. Shreds
its flesh, clinging to the hull, are broug1'
back for analysis by Faith Domergue.
scientist who looks about as scientific
this movie. Her verdict is that the monslii
is a huge octopus, driven upward from
natural home as a result of H-bomb <|
periments. She’s proved right when t
octopus, which has somehow acquired !
taste for people, launches an attack on t
San Francisco waterfront. f
Land of Fury
RANK, U-l; TECHNICO) i
V)/ The wild landscapes of New Zeala
are the chief attraction of this Briti
made pioneering story. Early in the 1L
century, Jack Hawkins brings bri :
Glynis Johns from England to settle in t ;
unexplored land down under. He 1 >
made friends with the local Maori chi .
but the friendship is threatened when t:
chief’s seductive wife lures Hawkins in
a misstep. Fights between Maori tril 5
and later the settlers’ desperate sta
against hostile Maoris provide lively
tion. But the movie is handicapped b\
disorganized script, that keeps wanderi
into puzzling blind alleys. fam
Escape to Burma
RKO; SUPERSCI
EASTMAN CO
V'V' Both experienced hands at me
drama, Barbara Stanwyck and Rob
Ryan co-star in a tale of danger and
mance. Ryan is a fugitive accused of h
ing murdered the son of a Burmese rul
Without revealing his background,
finds refuge at Barbara’s remote ti
plantation, becomes her overseer and 1
lover. The idyl is rudely interrupted wl t
David Farrar, as a British security offic
comes to arrest Ryan. Then the picti
goes into a pattern of chases, captures e
escapes through the jungle. Though
scenes were filmed on location, many
the sets and backgrounds are handsoi
with plenty of wild life. ai
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Casts
of
Current
Pictures
BLACKBOARD JUNGLE— M-G-M. Directed t
Richard Brooks: Richard Dadier, Glenn Ford; Am
Dadicr, Anne Francis; Jim Murdock, Louis Calheri
Lois Jitdby Hammond, Margaret Hayes; Mr. Wa
nckc, John Hoyt; Joshua Y. Edwards. Richard Kile)
Mr. Halloran, Emile Meyer; Dr. Bradley, Warm
Anderson; Prof. A. R. Kraal, Basil Ruysdael; Gre
ory W. Miller, Sidney Poitier; Artie West, Vic Mo
row; Belazi, Dan Terranova; Pete V. Morales, Rafa
Campos; Emmanuel Stoker, Paul Mazursky; Dete
tive, Horace McMahon; Santini, Jameel Faral
De Lica, Danny Dennis.
CINERAMA HOLIDAY — De Rochemont. Directs
by Robert Bendick and Philippe de Lacy; Betty an
John Marsh (of Kansas City, U.S.A.) and Beatrii
and Fred Troller (of Zurich, Switzerland).
EAST OF EDEN — Warners. Directed by Eli
Kazan: Abra, Julie Harris; Cal Trask, James Dear
Adam Trask, Raymond Massey; Sam, Burl Ive:
Aron Trask, Richard Davalos; Kate, Jo Van Flee
Will, Albert Dekker; Ann, Lois Smith; Mr. Albrech
Harold Gordon; Joe, Timothy Carey; Piscora, Mar
Siletti; Roy, Lonny Chapman, Rantani, Nick Denni
If you play the coquette, can you—
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I 1 Triple your bookings
Ever think you could soup up his interest
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•
ESCAPE TO BURMA — RKO. Directed by Alla
Dwan: Gwen Moore, Barbara Stanwyck; Jim Breca
Robert Ryan; Cardigan, David Farrar; Makes ;
Murvyn Vye; Andora, Lisa Montell; Sawba, Robe
Warwick; Commissioner, Reginald Denny; Capt. i
the Guard, Peter Coe; Dacoit, Alex Montoya; Kuma\
Robert Cabal; Kasha, Anthony Numkena; Poo Kai
Lala Chand Mehra.
•
GLASS SLIPPER, THE— M-G-M. Directed 1
Charles Walters: Ella, Leslie Caron; Prince Charle
Michael Wilding; Kovtn, Keenan Wynn; Mrs. T
quet Estelle Winwood; Widow Sonder, Elsa La
Chester; Duke, Barry Jones; Birdena, Amanda Blakj
Serafina, Lisa Daniels; Cousin Loulou, Lurene Tt
tie; Tehara, Lilliane Montevecchi; Ballet de Parij
•
IT CAME FROM BENEATH THE SEA— Colut
bia. Directed by Robert Gordon: Pete Mathews, Ke
neth Tobey; Lesley Joyce, Faith Domerguc; Jol
Carter, Donald Curtis; Admiral Burns, Ian Keif
Admiral Norman, Dean Maddox, Jr.; Griff, Lt. i
Griffiths, U.S.N.; Bill Nash, Harry Lauter; Ca /
Stacy, Capt. R. Peterson, U.S.N.; Asst. Sccreta, |J
Robert Chase, Del Courtney; Navy Interne, T
Avery; Reporter, Ray Storey; Hall, Rudy Putesk;
Aston, Jack Littlefield; McLeod, Ed Fisher; Kin
Jules Irving.
LAND OF FURY—U-l. Directed by Ken Annaki
Philip Wayne, Jack Hawkins; Marion Southe
Glynis Johns; Paddy Clarke, Noel Purcell; Moan
I.aya Raki; Hougi Tepe, Inia Te Wiata; Awaru
Patrick Warbrick; Peter Wishart, Kenneth William
Rangiruru, Tony Erstich; Toroa, Edward Baker.
•
LIFE IN THE BALANCE, A— 20th. Directed I
Harry Horner: Antonio, Ricardo Montalban; Pac
Jose Perez; Micacla, Anne Bancroft; Carla, E
Calvo; Sotdana, Carlos Musquiz; The Killer, L
Marvin.
Continue
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Casts
of
Current
Pictures
continued
MAN WITHOUT A STAR—U-l. Directed by K
Vidor: Dempsey Rac, Kirk Douglas; Reed Boson
Jeanne Crain; I donee, Claire Trevor; Jeff Jims
William Campbell; Steve Miles, Richard Boone; M
easin Mary. Mara Corday; Tcss Cassidy, My
Hansen; Strap Davis, Jay C. Flippen.; Bill Cassi
Eddy C. Waller; Little Waco, Frank Chase; She
Olson, Roy Barcroft; Box Car Alice, Millicent 1
rick; Hammer, Casey MacGregor; Jessup, Jack
gram; Johnson, Ewing Mitchell.
MARTY — U.A. Directed by Delbert Mann: Mai
Ernest Borgnine; Clara, Betsy Blair; Mrs. Pillc
Esther Minciotti; Catherine, Augusta Ciolli ; An,
Joe Mantell ; Virginia, Karen Steele; Thomas, Je
Paris; Ralph, Frank Sutton; The Kid, Walter Kell
Joe, Robin Morse.
RUN FOR COVER -Paramount. Directed by Nic
Viveca Lindfors; Davcy Bishop, John Derek; 1
Swenson, Jean Hersholt; Gentry, Grant Withe
Larsen, Jack Lambert; Morgan, Ernest ltorgni
Sheriff, Ray Teal; Scotty, Irving Bacon; Pa.uls
Trevor Bardette; Mayor Walsh, John Miljan; i
Ridgcsvay, Gus Schilling; Harvey, Denver Pj
Banker, Emerson Treacy; Andreses, Phil Chambe
Dovers, Harold Kennedy; Miller, Joe Hawor
Townsmen, Henry Wills, Rocky Shahan, Bob Foil-
son, Jack Montgomery, Frank Cordell, Fred Bai
Howard Joslin.
STRANGER ON HORSEBACK— U.A.— Direc
by Jacques Tourneur: Rick Thorne, Joel McCr
Amy Lee Bannerman, Miroslava; Tom Bannerm
Kevin McCarthy; Josiah Bannerman , John Mclnti
Caroline Webb, Nancy Gates; Colonel Streeter, Jc
Carradine; Sheriff Nat Bell, Emile Meyer; Am
Hammer, Robert Cornthwaite; Vince Webb. Jar
Bell; Paula Morison, Jaclynne Greene.
UNTAMED — 20th. Directed by Henry King: P
Van Riebcck, Tyrone Power; Katie O’Neill, Su-
Hayward; Kurt, Richard Egan; Shawn Kildare, Jc
Justin; Aggie, Agnes Moorehead; Julia, Rita More
Maria Dc Groot, Hope Emerson; Christian. B
Dexter; Squire O’Neill, Henry O’Neill; Tscha
Paul Thompson: Jan, Alexander D. Havemai
Joubert, Louis Mercier; Janstie, Emmett Snii
Simon, Jack Macy; Mine. Joubert, Trude Wyl
Bani, Louis Pollimon Brown; Maria's Children, Br
Corcoran, I.inda Lowell, Tina Thompson, Gary ;
Bobby Diamond; Grandfather Joubert, Edw;
Mundy; Miss Joubert, Catherine Pasques; Jot
Joubert, Christian Pasques; York, Robert Adi
Capt. Richard Eaton, John Dodsworth; Driver-B
Street, Alberto Morin; Schumait, Philip Van Zan
Young Paul, Kevin Corcoran; Sir George Gr
Charles Evans; Cornelius, John Carlyle; Lady V
non. Eleanor Audley.
WHITE FEATHER — 20th. Directed by Robert
Jacks: Josh Tanner, Robert Wagner; Colonel Li,
say, John Lund; Appearing Day, Debra Paget; Lit
Dog, Jeffrey Hunter; Chief Broken Hand, Edu;
Franz; Lt. Ferguson , Noah Beery; Ann Magrnd
Virginia Leith; Magrudcr, Emile Meyer; Amern
Horse, Hugh O'Brian; Commissioner Trenton,
burn Stone.
30
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BRIEF REVIEWS
For fuller reviews, see Photoplay for months in-
dicated. For this month’s full reviews, see page 20.
t/V GOOD / FAIR A — ADULTS F — FAMILY
//// EXCELLENT /// VERY GOOD
/// AMERICANO, THE— RKO, Eastman Color:
Lively Western. Texas rancher Glenn Ford de-
livers prize bulls to Brazil, gets into a range war,
with Frank Lovejoy and Ursula Thiess on opposing
sides. Vivid location shots. (F) March
BAD DAY AT BLACK ROCK— M-G-M;
CinemaScope, Eastman Color: In an offbeat mys-
tery, Spencer Tracy finds a small Western town
is covering up a past crime, at Robert Ryan’s
command. With Anne Francis. (F) March
/// BATTLE CRY — Warners; CinemaScope,
WarnerColor: Aldo Ray and Tab Hunter are
among young Marine recruits being trained for
World War II by Van Heflin. Bimphasis is on love
stories, notably Aldo’s and Nancy Olson’s, Tab’s
and Mona Freeman’s. (A) March
p'l/p' BATTLE TAXI— U. A.: Modest but absorb-
ing story of rescues by ’copters in the Korean
war. Officer Sterling Hayden has a problem in
Arthur Franz, former jet pilot. (F) April
BRIDGES AT TOKO-RI, THE— Paramount,
Technicolor: Simple, well-acted story of carrier-
based jets over Korea. William Holden’s a pilot;
Grace Kelly, bis wife; Fredric March, an admiral;
Mickey Rooney, a ’copter pilot. (F) March
CAPTAIN LIGHTFOOT— U-I; Cinema-
Scope, Technicolor: Filmed in Ireland, this en-
gaging swashbuckler casts Rock Hudson as a 19th
century rebel against England’s rule. Jeff Morrow’s
bis leader; Barbara Rush, his love. (F) April
//// CARMEN JONES — 20th; CinemaScope,
De Luxe Color: Brilliant, unusual musical, set in
America’s South. Dorothy Dandridge, as the tempt-
ress, and Harry Belafonte, as the soldier she ruins,
head an all-Negro cast. (A) January
p'pV CHIEF CRAZY HORSE— U-I; Cinema-
Scope. Technicolor: Victor Mature’s the great
Sioux warrior; Suzan Ball, his wife. The story’s
substance and Dakota's weirdly beautiful Black
Hills counterbalance routine handling. (F) April
/// COUNTRY GIRL, THE— Paramount :
Strong theme, intelligent acting. Bing Crosby fights
alcoholism to try a stage comeback, aided by wife
Grace Kelly and Bill Holden. (A) January
/// DOCTOR IN THE HOUSE— Rank, Repub-
lic; Technicolor: Funny, rambling, irreverent tale
of students working or trying to bluff their way
through medical school. British-made, with Dirk
Bogarde, Kenneth More. (A) March
//// FAR COUNTRY, THE— U-I, Techni-
color: Vigorous, skillfully made Western. In old-
time Alaska, hard-bitten James Stewart is stranded
in a town terrorized by hoodlums. Corinne Calvet’s
a tomboy; Ruth Roman, an adventuress. (F) March
//// GREEN FIRE — M-G-M: CinemaScope,
Eastman Color: Robust, good-natured adventure
movie, about a search for emeralds in Colombia.
Stewart Granger, Paul Douglas are bickering part-
ners; Grace Kelly, a proud heroine. (F) February
/// HIT THE DECK— M-G-M; CinemaScope,
Eastman Color: Lively musical comedy gets Navy
men Vic Damone, Russ Tamblyn and Tony Martin
into amusing jams on a Frisco leave. The girls of
their hearts are Jane Powell, Debbie Reynolds, Ann
Miller. (F) April
V'V'V''/ INTERRUPTED MELODY— M-G-M,
CinemaScope, Eastman Color: The life of opera
star Marjorie Lawrence — her career, her marriage, (
her bout with polio — makes an imposing music- |
drama, acted with great skill and charm by Eleanor
Parker and Glenn Ford. (F) April
PW' JUPITER’S DARLING— M-G-M; Cinema-
Scope, Eastman Color: Sprawling, lavish musical
presents Howard Keel as the conqueror Hannibal,
Esther Williams as a Roman lady trying to save
her city. With the Champions. (F) April
//// LONG GRAY LINE, THE— Columbia ; I
CinemaScope, Technicolor: Ty Power stars in the
true, warmly sentimental, humorous story of a be-
loved sergeant stationed at West Point for fifty
years. Maureen O'Hara’s his wife; Bob Francis,
one of the cadets Ty counsels. (F) April
pVp' PRINCE OF PLAYERS— 20th; Cinema- |
Scope, De Luxe Color: Richard Burton’s fine as
Edwin Booth, great 19th century actor beset by
off-stage tragedy. Maggie McNamara’s opposite
him; John Derek is John Wilkes Booth. (F) April
pVp' PURPLE PLAIN, THE— Rank, U.A.; Tech-
nicolor: Action, gentle romance, vivid war scenes
combine in a story set in Burma, but shot in
Ceylon. Gregory Peck, neurotic RAF flyer, finds
healing in a Burmese girl’s love. (F) February
/// RACERS, THE — 20th; CinemaScope, De
Luxe Color: Against varied European backgrounds.
Kirk Douglas plays a ruthless auto-racer, with no
regard for other drivers and little for his girl
(Bella Darvi). Plenty of action. (A) April
/// SILVER CHALICE, THE— Warners; Cine-
maScope, WarnerColor: Pageant of the Roman
Empire, with handsome sets. Sculptor Paul New-
man weds a Christian girl (Pier Angeli), remains
infatuated with Virginia Mayo, assistant to a power-
mad magician (Jack Palance) . (F) March
SIX BRIDGES TO CROSS— U-I: Rapid-
fire cops-and-robbers yarn. Cop George Nader tries
to reform Tony Curtis, juvenile delinquent who
becomes a master crook. (A) March
// SMOKE SIGNAL — U-I, Technicolor: Dana
Andrews, under arrest as a traitor, and Piper
Laurie are among whites fleeing Indians on a risky
river voyage through a canyon. (F) April
// THREE RING CIRCUS — Wallis, Paramount;
VistaVision, Technicolor: Martin and Lewis create
a fair number of laughs in a vaguely plotted tale of
the big top. (F) January
//// 20,000 LEAGUES UNDER THE SEA-
Disney; CinemaScope, Technicolor: Splendid, eye-
filling science-fiction adventure. Brooding James
Mason captains a 19th century submarine, captures
Kirk Douglas and others. (F) March
/// UNCHAINED — Warners: Earnest, moving
close-up of an honor prison designed to rehabilitate
inmates. Chester Morris is the warden; Elroy
Hirsch, a rebellious convict. (F) January
UNDERWATER! — RKO; SuperScope,
Technicolor: Humorous, excitement-filled treasure-
hunt tale. Jane Russell, husband Richard Egan,
pal Gilbert Roland borrow Lori Nelson’s yacht to
seek a galleon sunk in the Caribbean. (F) March
pVP' WAGES OF FEAR, THE— Filmsonor: Un-
bearably suspenseful French film (dialogue in both
French and English). Derelicts volunteer to drive
truckloads of high explosive over rough roads to
a Central American oil field. (A) April
32
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BARBARA STANWYCK
ROBERT RYAN • DAVID FARRAR
Distributed by
R K O
RADIO
Directed by ALLAN DWAN • Screenplay by TA L B OT JENNINGS and HOBART DONAVAN
BENEDICT BOGEAUS
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Address your letters to Readers luc.. Photoplay, 205 East 42nd Street, New
York 17, New York. We regret we are unable to return
or repl
SOAP BOX:
Hollywood is overlooking something. I have
just seen “Barefoot Contessa” and I am won-
dering how Hollywood has overlooked such a
good actor as Rossano Brazzi. He gave a good
performance, even though his part was not big,
that kept him right up with the stars of the
picture. His quiet, forceful appeal is of a new
type, and I think he should he given a chance
to demonstrate his acting ability. I hope your
magazine will help him along.
Shirley McNemac
Lima, Ohio
Why, oh wdiy, is there never an article about
my favorite star George Nader? His pictures
are successful, he’s handsome, talented and, on
top of that, a really “swell’' person.
Rose Marie Antonow
Rochester, New York
I saw Vittorio Gassman in his American pic-
ture, “Rhapsody,” and I think he is the great-
est performer of the year. I was astonished to
see that you didn’t put his name in the list of
“favorite stars.” We like him very much in
Egypt, and we hope that some day you, too,
will appreciate his great talent.
Malak Rany
Heliopolis-Cairo. Egypt
I note with pleasure that you do features on
newcomers as well as well-established celebri-
ties. It is with this thought that I bring up the
name of Todd Markham. I first saw him in
“Give a Girl a Break." I almost forgot about
him and then found out he was in “Jubilee
I rail.” Both performances were worthy of some
attention. I’m not sure if Mr. Markham is cur-
rently making any movies or not, but I’m sure
many people besides me would love to see a
feature on this handsome, versatile young actor.
Robert Harrison
Dravosburg, Pennsylvania
CASTING:
With Greg in the cast, a success
Here are some casting ideas for books I
think should make excellent movies: Marcia
Davenport’s My Brothers Keeper, starring
Marlon Brando as the older brother and
r Montgomery Clift as the younger; William E.
Barrett's Shadows oj the Images, starring
Gregory Peck as Tom Logan , Richard Burton
as Paul Logan, Marilyn Monroe as Beverly
Colter and Jean Peters as Vicky Leighton.
Dale Sandahl
Detroit, Michigan
I have just finished reading Star Money by
Kathleen Winsor. A wonderful book — magnifi-
cent— and would equally make a wonderful
emotional, dramatic picture with cast as fol-
lows: Mara Corday as Shireen Delany ; George
Nader as Edward Farrell' ; Lance Fuller as
Johnny Keegan; Lana Turner as Georgia
Marsh; Elroy Hirsch as Mike Callahan; Gregg
Palmer as Philip Thayer; Hugh Marlowe as
Jack MacDonald ; Steve Rowland as Paul
W orth and Paul Picerni as Dallas Cavanaugh.
Marvin Terry
Farber, Missouri
I have just finished reading The Dark River,
by NordholT and Hale. I am sure that if this
picture was made with Jean Simmons and
Edmund Ptirdom as Naia and Alan, Hollywood
(and 20th Century-Fox) would have a great
picture on its hands.
Blanche Czerwinski
Detroit, Michigan
Why don’t they make a movie about Michael
Shayne, the private detective? I think the cast
should be as follows: Mike Shayne — Charlton
Heston, Lucy Hamilton — Jean Peters or Jean
Simmons, Chief of Police, Will Gentry — Ward
Bond or William Conrad, Tim Rourke — Frank
Sinatra or Keefe Brasselle, Peter Painter —
Phil Carev or Russell Johnson.
Dorothy Olson
Hempstead, Texas
An offbeat Western story that would make a
top-notch movie is Max Brand’s The Night
Horseman. I would like to see it made with
the following cast: Guy Madison as “Whistling
Dan” Barry, Richard Widmark as Buck Dan-
iels, Harry Morgan as Dr. Byrne, Steve Coch-
ran as Mac Strann and Terry Moore as Kate
Cumberland.
Arthur Stockman
Longmont, Colorado
I hope that someday Hollywood will make a
picture of Ardyth Kennelly’s book Good Morn-
ing. Young Lady, a story of wonderful young
love, with stars Debbie Reynolds as Dorney
Leaf, Bob Wagner as Butch Cassidy, Ben Coop-
er as Leige Desmond and Debra Paget as
Crystal.
Shirley Garrant
Astoria, Oregon
I have recently read a sensational magazine
novel. The story was entitled “That Evil Wom-
an,” written by Gertrude Schweitzer. The
authoress cleverly concealed the identity of
the guilty person. I think it would make a
terrific movie with all its mystery and emo-
tion. The portrayal of the fictional characters
by the following actors and actresses would
be exciting: Nick — Rock Hudson, Wade —
Jeff Richards or George Nader, Carla — Grace
Kelly, Gwen — Debra Paget.
Betty Lynth
Philadelphia, Pennsylvania
I have just read The Black Spearman, writ '
ten by Pitt L. Fitzgerald, which I reckon wouhffl
make a mighty different, wonderful movie I
Ghost of a Wolf would be for Burt Lancaste
to act out. Man Upon a Fox for Jeff Chandler I
Long Panther for Maurice Jara, Ian MacDon I1
aid for Old Scar, Bart Roberts for Swift Bear 1
er, Rock Hudson tor Man W ho Swims ami I
Eugene Iglesias for Spotted Bull.
Melba Aykroyd
Wainwright, Alberta, Canad;jl
I think a boxoffice hit would he the movii |
version of the wonderful book by Mary Deas> j
The Corioli Affair, with Marlon Brando as Jei |
and Jean Simmons as Lacey.
Norma Jalle' j
Dallas, Texas J
If Tallulah Bankhead’s life story is eve '
brought to the screen, I choose Ann Sheridan
Lauren Bacall and Lizabeth Scott as tli
actresses best qualified for the title role. Mis I
Sheridan bears a striking resemblance to tli
fabulous Tallulah, and certainly has th I
necessary acting ability to play the part.
Fay Burcess
Alabama City, Alabam
I recently read a book called Hot Rod. It i
by Gregory Henry Felson. I think Tony Curti ■
would be the perfect player for it.
Toni Pat Marincei.l
Albuquerque, New Mexic
Why hasn't anyone thought of making th
book, The Bishop's Mantle, into a movie? I ar
sure it would be a terrific hit with that wor
derful actor Charlton Heston as Hilary Lauren I
and pretty May Wynn as Alexa. his wife.
Diane Ingram
Winnipeg, Manitoba, Canad
I have just finished reading Irving Stone'
Love Is Eternal, and I think it could be mad
into an unusually great motion picture stai
ring Olivia de Havilland as Mary Todd Lincol
and Michael Rennie as Abraham Lincoln.
Becnice Ellis
Oklahoma City, Oklahom
I'd Rather Be Kissed, by F. Hugh Herber
is one of the most delightful books I have eve
read. I think it would make a delightful con
edy starring Debbie Reynolds as Delores, Ta
Hunter as Terry, Clifton Webb as Mr. Duff 1 __
Mike O’Shea as Mr. Keith and Mauree
O’Hara as Mrs. Keith.
Susan Lulic
Newark, New Jerse
QUESTION BOX:
My friend and I are having an argumer
about Edmund Purdom. I say he is marriet
and my friend says he isn't. Who is right
Where can I write to him, and may I have soni
statistics on him, please?
Sally Currier
Washington, D. (
Edmund Purdom was born in Welwyn Ga
den City. England, on December 19. 1926. He i
to tiny letters not published in this column.
acted on stage, radio, tv. He’s 6'Yi" tall, has
brown hair, brown eyes. He married dancer
Anita ( Tita ) Phillips in January 1951, is now
suing for divorce. They have two daughters.
Ed’s next are “ The Prodigal” and “ The King’s
Thief” for his studio, M-G-M. — ED.
There's debate on Elaine’s height
Can you set me straight on something? 1
read that Elaine Stewart was 6’2" tall and my
girl friend read she was 5'6'\ Which is right?
Jeannette Moore
Alhambra, California
Elaine is 5’6yi" ta U- — ED.
In one magazine 1 read that Montgomery
Clift’s birthday is October 17, 1920. In an-
other place I read it was November 17, 1920.
Could you please tell me which is correct and
where he was born? I would also like to know
when and where Marlon Brando was born.
( lou Id you please tell me?
Lila Stencel
Brodhead, Wisconsin
Monty was born October 17, 1920; Marlon
April 3. 1924, both in Omaha, Nebraska. — ED.
Would you please tell me who played the
part of Ed Perkins in "Athena,’’ and give some
information about him, too?
Norma Carter
Beaumont, Texas
Steve Reeves, Mr. Universe of 1950. — ED.
■ IF e’d like nothing better than to an-
swer every single letter we receive ask-
ing for information and addresses of the
stars. We can’t! Each week hundreds of
letters are received. We can only answer
a limited number in Readers Inc. each
month. We suggest, therefore, that if you
want to start a fan club or write your
favorite stars, address them at their
studios. And if you’re collecting photo-
graphs. a good bet is to investigate the
commercial organizations that have pic-
tures for sale. ed.
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THE SOAP
photoplay recommends
In gambling den. Cal meets scared barmaid Anne (Lois Smith)
Cal greets Aron, Abra, alter mysterious all-night absence
• “East of Eden” is one of the most wonderful
stories ever filmed. It is beautifully acted. It is
beautifully photographed. It merits all the superla-
tives one has come to attach to a fine motion picture.
Director Elia Kazan, in our opinion, has height-
ened the intensity of Steinbeck’s fine story, East of
Eden, by ignoring name stars in favor of players
who are relatively unknown to motion-picture audi-
ences. James Dean, who plays one of the twins, Cal,
is from tv and the stage. His portrayal is likely to
make him an Academy Award contender. Richard
Davalos, the other twin, has never had his name on
a motion-picture theatre marquee before. Stage per-
sonalities Julie Harris, the girl Abra whose vital
force finally brings father and son together, and
Raymond Massey, the father, bring fresh acting
techniques to the screen. All these performances
put together make “East of Eden” fairly scream
authenticity.
Darken your television screen, take along a hand-
kerchief— your emotions will be deeply touched —
and let your favorite motion-picture theatre bring
you the kind of entertainment that can make you
happy you’re a moviegoer.
Ann Higginbotham
Editor
Birthday ends in tragedy lor Cal, father (Raymond Massey)
A bitter Cal tells Aron truth about Kate (Jo Van Fleet)
Mitzi Gaynor, who wants to be a
model wife, models the latest
in nightwear — a bloomer-nightie
Jane Powell cooks like a dream,
but who wouldn’t get breakfast
for a girl who looks like this!
IP ho would believe that this
vision in satin — Kim Novak —
once thought she wasn’t pretty!
Rita Moreno’s a red pajama girl,
even wears tailored models on
the set. But a green chiffon
waltz-length gown sends pretty
Piper Laurie whirling into bed
INSIDE STUFF
Cal York’s Gossip of Hollywood
sets in Debra’s 26-room house!
Nighttime Belles: Piper Laurie, who
is an unusual girl, gave herself an
(“unusual” (for Hollywood!) 23rd
(birthday party at Giro’s. The import-
ant names on her guest list were her
mother, father, grandfather, sister,
brother-in-law and the Lee Scotts — he
created Piper’s exciting choreography
jin “Ain’t Misbehavin’ ”... Debra
Paget, however, is a stay-at-home-with-
her-family-girl these nights. In her 26-
room house there are ten people who
Mitzi Gaynor's bloomer-nightie from Bullock's Westwood •
Piper Laurie's waltz-length gown by Juel Park • Kira Novak's gown and peignoir by Juel Park
watch nine tv sets! To quote Debbie’s
Mom: “We keep a running account
with Vic Mature!” ... On her recent
trip to New York, Kim Novak tasted
her first hollow victory since success.
With eager anticipation she stopped off
in Chicago for a reunion with home-
town friends. Instead of a royal wel-
come, they were cooler than that pro-
verbial cucumber. Now why pull a
stunt like this on a sweet, unspoiled
gal like Kim? . . . Rita Moreno has
such a passion for red pajamas, she
even wears tailored models on the set
when she’s rehearsing in “The Vaga-
bond King” . . . And Martha Hyer is
responsible for a new and fancy fash-
ion in the boudoir, A fan in Hawaii
sent her one of those colorful native
muumuus, which the blond beauty uses
to sleep in! ... Mitzi Gaynor wants
to be a model wife, so she’s taking
cooking lessons from a model chef.
Jane Powell’s ( Continued on page 102)
Tony’s enthusiasm, genuine liking for people, will-
ingness to slave long hours in perfecting himself
for a role, have endeared him to other actors. Above,
with Gene Nelson, right, with June Ailyson, Jeff
Chandler. In Boston, below, for “ Six Bridges to
Cross,” he proved that Curtis charms children, too!
BY HYATT DOWNING
• Tony Curtis came bounding into the big U-I
commissary, took a quick, impulsive leap and landed
gracefully with a flourish and deep bow alongside the
table where a group of his friends were eating lunch.
The flourish and motions were distinctly theatrical and
could have been part of a scene from “The Black Shield.”
“Look at that guy,” said Jeff Chandler, who was eating
at another table close by. “He gets a tremendous thump
out of everything. Such enthusiasm I’ve never seen.”
A round of applause went up and Tony offered a
card trick. “See this five of hearts?” he asked, producing
the deck with a gallant swish. “I place it in the pack, so,
right in the middle ; cut three times and there’s your card
on top. Good, hey? Now watch this one. . . .”
“Tony’s got the greatest gift of enthusiasm I’ve ever
seen,” Jeff said warmly. “Hollywood never gets to be
an old story, neither does life. Every day’s a new
adventure to Tony. The kid really likes people and the
amazing thing is that with all his popularity none of it
has spoiled him. He just gets along with everybody.
Look at that grin,” Jeff added as Tony walked over
to his table, all smiles. ( Continued on page 135)
Tony is next in "The Purple Mask"
Life is for kicks — and a lot of people are getting more
of a kick out of life since Tony Curtis moved to Hollywood
40
A-“ ' ■‘■''V'
Wsm
m m
. a**
Debbie Reynolds is next in "Hit the Deck "
The engagement period is romantic, but as Debbie and Eddie learned.
42
■
Getting in Step for Marriage
BY MAXINE BLOCK
• “Eddie and I know just what we
want in a house, now,” Debbie Reyn-
olds declared, as she fitted her ninety-
eight pounds into a snug position on the
sofa in her dressing room. On her pert,
pixie face was the secret glow that only
comes to a girl deeply in love. She was
chewing away at her gum and had al-
ready kicked off her ballerina slippers
— a necessary preliminary to conversa-
tion for Debbie. Conversation with Deb-
bie these days always centers around
such nice topics as — brides, weddings,
getting prepared for marriage and love.
There’s no doubt, when you listen to
Debbie talk, she’s been giving some
mighty serious thinking to the subject
of marriage.
“We want English architecture with
contemporary furniture,” she continued
seriously. “And light wood paneling,
three bedrooms, a little garden in front.
a swimming pool and barbecue, big
trees, but not too much ground to take
care of. And we want it in Beverly Hills.
But we’ll have to give up a view, be-
cause a view out here means a hillside
far from neighbors. I’m a sugar-borrow-
er, you know. I love having folks close
by. When I’m by myself, I get a spooky
feeling. You know, I’ve never really
spent a night alone in a house!
“Eddie and (Continued on page 123)
Two happy mothers will see Deb
and Eddie married on June 17
Forgetfulness of self is a bond. With
Keenan W ynn, they spent Xmas with troops
it’s also the time
to fall in love— for keeps
With producer Joe Pasternak. “ I’m
not planning to give up my work”
“When you're engaged ... so
many things to straighten out ”
“Pm a sugar-borrower” so new
home will have near neighbors
“I would have been sorry if
Pd had my way about my ring”
igB-ir-;
i •<!
I’m in Love with a Wonderful Mom
By Tab Hunter
Soap in my mouth — giving it to me straight when I
was lousy. And oh, these daily reminders ! Salt
and spice and sweetness — that was Mom. She still is
• It’s funny how you can remember little things
from ’way back when you were just a kid. I don’t
think I’ll ever forget one autumn morning that
my brother Walt and I waited for mother to come
home from a trip. It was one of those cold San
Francisco autumn mornings; the kind of morn-
ing you hate to get out of bed. But this day both
Walt and I were up and dressed early. I remember
I had on my best pair of pants. They were brown
corduroy and every time I crossed the room to
watch out the window for Mom, they swished and
made a funny sound. I also had on a tie. Walt and
I didn’t usually wear ties, but today was impor-
tant. We hadn’t seen Mom for almost a month.
She was working on a steamship line as a physio-
therapist and was away a great deal. Not seeing
Mom each day was hard on Walt and me— there
was an emptiness, a kind of aloneness. We didn’t
talk about it much, Walt and I, but it was there.
Like the feeling I had when the teacher told me,
“Take this slip home and have> your mother sign
it.” But Mom wasn’t home. Or like the time Walt
tore his pants, but ( Continued on page 114)
Tab and his mother. “I've always been able to talk with
her. A woman like this is not only a mother but a friend”
“My love of sports, which are clean things, stems from
Mom’s maxim ‘Soap and water are cheap, don’ t forget that’”
“They says mothers resent it when their kids want a place
of their own. Not Mom — she helped me find an apartment”
Tab Hunter Is in "The Sea Chase”
45
Janet Leigh, is In
Columbia’s “My Sister Eileen,
RKO’s “Jet Pilot”
There are some things inside of you that you cant tell because you can’t really
express them — something that , deep down, is your own. . . . JANET LEIGH
Uanet Leigh says, “Though I risk
the wrath of that body corporate
known as husbands, I say wives should
have secrets, but they should never be
the kind that are in any way vital.
“By anything vital, I mean secrets
concerning your past (assuming you
have one), or money you’ve spent and
perhaps shouldn’t have, work problems
that come up, family problems, or any-
thing concerning your health. These
are the secrets you should not have.
These are the vital ones and you can-
not build a good, enduring relationship
if you are secretive with your husband
about such important matters as these.
“In the less important, trivial things
a wife should have her secrets. Wlr
not? I have mine,” Janet confessed.
“One of them, a silly one, is tha
unknown to Tony I use a social batl
oil. ‘Gee,’ he’ll say, ‘you smell good.
So I just let him think,” Janet smile<
mischievously, “that it’s my owi
46
Complete sharing of deed and thought, work and play is the
only way to insure a complete marriage. . . . DORIS DAY
sweet-smelling self he likes so well.
“Glamour secrets, the things a girl
does to make herself pretty in her hus-
band’s eyes, should certainly be as
secret as she wants — or is able — to
keep them. You can’t help your hus-
band seeing you with your hair up. If
you live under one roof and share a
bedroom this is impossible! Fd like it
fine if Tony could always see me with
my hair brushed out, lustrous and wav-
ing, but since this can’t be managed
I don’t worry about it, for if your hus-
band’s love for you depends on a pin-
curl it isn’t going to last much longer
than a pin-curl is likely to last !
“A lot of married girls are more
concerned with trying to make their
husbands believe their curly hair and
flawless make-up is the way nature
made them than they are about the
real fundamental factors in their mar-
riages— like companionship and keep-
ing the budget ( Continued on page 111)
jrls Day
In Warner’s "Young at Heart,”
-G-M's “Love
BY
GLADYS HALL
47
He still prefers home , but Granger has
thawed considerably about going places
Some think it’s the gentle, constant
influence of Jean that has changed him
The fiery temper s
still there. But it
no longer blisters
like it did. Somebody took
the growl out of
Granger. The question
is — whodunit?
BY JOHN MAYNARD
• One momentous day last summer the
“Moonfleet” company was on location
and an important scene was being shot
of Stewart Granger. The day was mo-
mentous not for this reason but because
that night Rocky Marciano, heavyweight
boxing champion of the world, was
scheduled to defend his title against an
oddly persistent challenger named Ez-
zard Charles. The bout was to be tele-
vised on closed circuits to theatres only,
and Granger had purchased a 70-seat
bloc in a nearby house for himself, his
wife and members of the movie’s crew.
That was nice of him, yes — and not
altogether compatible with a Stewart
Granger of a slightly earlier time. But
wait a minute. It’s not the whole story.
Time dragged and staggered and fell
all over itself that afternoon, and soon
it became evident that while Granger
would be free to go, the crew wouldn’t.
Even after shooting, they’d have to stay
around to strike the set and stow the
gear. Tough.
Now Granger’s a red-hot man on mat-
ters pugilistic and he’d been looking for-
ward to this fight for a long time. But
LOOK
WHO’S
SMILING
In London, he and Jean, other actors, meet
Queen Elizabeth at Royal Command Performance
48
The tempers under control — until someone
hints at trouble between him and his wife!
Jean and Stewart co-star in “Rebound’
he declined to press his advantage,
which again seemed a trifle out of char-
acter when viewed against the backdrop
of the man who used to be. Instead,
deeply pained by the stunned disap-
pointment of the crewmen, he stayed
with them, later hosting a large buffet
in his motel suite.
It may be that heaven chose to take a
benign view of this deed. The fight was
rained out and ( Continued on page 127)
The old Granger would never have admitted
Jean knew best about role he objected to
It’s Ricky, the tease, not Pam.
who keeps June Allyson hopping!
Leslie had to grow a bit before
Bacall would go back to work!
Just a toddler, but Mary Catherine
has Mom Ginny Mayo hustling
Barbara Rush’s son Chris is
cool — about that first
Tune Allyson is in “Strategic Air Command." “The Shrike." “The McConnell Story" • Virginia Mayo, in
"The Silver Chalice" • Lauren Bacall.
50
— — =
■<5S$r Life begins, for these Hollywood mothers, when
they open the door to their homes and hear excited
voices calling, “Mommy’s home!” For Jeanne Crain,
mother of three big .boys and a little girl, it usually
means chaos — and she loves it. For there’s magic in
kissing away bruised hurts, in chubby arms reaching
for a warm hug or, as June Allyson ruefully admits,
“having to paddle ’em occasionally!” Lauren Bacall
was so busy being wife and mother of two she delayed
going back to her movie career. And Mary Catherine’s
nurse knows it’s time to disappear when Mom Ginny
Mayo comes home! The stars can’t spend as much
time with their children as most mothers. But what
counts is the way they are bringing them up — the love
and happiness that shines from the faces of the little
boys and girls who call these glamour girls, “Mother.”
51
What happened in one day
could only happen to a guy who’s tall,
dark and single — and has just become
the owner of a house without a wife!
Rock Hudson is in "Captain Lightfoot" and "Giant"
Rock borrowed bed until eight-foot , custom-built bunk's ready
• At eight o’clock the alarm clock rang, two won-
derful hours later than usual, but Rock Hudson
opened his eyes reluctantly, then sat up in sur-
prise. He was in a strange room in a strange bed.
Then, smiling sheepishly, he stretched out again —
all six foot four of him — until his bare feet stuck
out from under the covers. He’d forgotten! Of
course! He was in his new home. There was his
jacket hanging over the new wardrobe unit he’d
just bought yesterday and his slacks flung over the
packing cases that had yet to be emptied.
Since he was a kid he’d looked forward to having
a house of his own. It sure felt good.
Last night was the first he’d spent in his new
palace. The gang had come over for an impromptu
housewarming that lasted until after three and he
didn’t get much work done. There wasn’t much that
could be done though, he rationalized. The bed still
belonged to the furniture company; it was only a
loan until they finished ( Continued on page 117)
Rock and new date, Phyllis Gates. Usually voluble, he now
clams up about dates, switches conversation to his new house!
Player piano has a rival — now he wants baby grand!
BACHELOR
DAZE
BY PAULINE SWANSON TOWNSEND
Jeff Chandler’ s encounter with
those boys on his block taughi
him looks can be deceiving :
After some mighty lean years,
John Derek began to wonder if
he hadn’t acted on impulse!
His ego took a beating — and
so did Bob Francis. But he’s
grateful to his brother, today
_
Ever pull a boner that
nakes you want to crawl
nto a hole?
Then move over, kids —
iouve got star company!
?Y
jHEILAH GRAHAM
• Standing in an easily accessible corner in Jane Powell’s bedroom is a
big, all-inclusive copy of the dictionary with heavily fingered pages. Jane’s
a word looker-upper, which goes back to one day when she was still in
school.
“I was called upon to read an essay I’d written,” Janie says. “I mis-
pronounced a simple word. I don’t remember what word it was, but there
were snickers from several of my classmates. Our teacher, a wise and
wonderful woman, interrupted my reading, asked me to sit down, then
said to the class: ‘I want everyone in this room who has never made a
mistake to stand up.’ There was complete silence — no one stood up.”
Continued
YOUR ERROR?
Mom didn’t appreciate Grace
Kelly’s reasons for flunking
math, but moviegoers did later
Even a beauty like Liz Taylor
had to learn- — that you can’t
take your looks for granted!
Audrey Hepburn just missed
making the mistake that might
have changed her entire career
55
Which just goes to show, we’re all
born equal — at least in the mistake
business — for when it comes to making
errors, seems nobody’s immune. Like
Janie, haven’t you found yourself blush-
ing after mispronouncing a common
word? Well, it’s okay so long as you
follow Janie to the dictionary and make
it your new friend.
And how many times has someone
told you not to do something but you
felt you knew better — like taking math
or typing instead of another study ses-
sion— but you knew the easy way. Then
months later, you painfully discover you
can’t get into college because you need
another year of math or didn’t get that
job because you couldn’t type. Sound
familiar, huh? Well, don’t despair,
you’ve lots of famous company.
Grace Kelly, for one. No matter how
much pleading Gracie got from mother
to study her math, her thoughts were
always with the latest venture of the
local amateur dramatic group. Came
time for Grace to take her college en-
trance exams for Bennington and she
flunked. She failed to pass math. Which
brings up another point worth remem-
bering. Not all mistakes are tragic, foi
Grace went on to the American Acad
emy of Dramatic Arts and from there
to modeling and on to become Holly
wood’s darling — a girl who could stand
up with Academy Award winners
There’s hope for you, too, so take ad
vantage of an error.
John Wayne’s what you’d call a pretty
clever and astute businessman. Aftei
OOPS!
YOUR ERROR?
Continued
Still acting up, but not the clown he was is tl
Mickey Rooney who’s in “The Bridges at Toko-R
Today, a happily married Pier Angeli wishes si
hadn’t been so blind to real love, four years at
56
all, he’s been Mr. Boxoffice for so many
years we’ve lost track of the number.
He’s not only top movie hero but is
now producing, through his own com-
pany Wayne-Fellows, such popular hits
as “The High and the Mighty.” Would
you believe that Duke says he wasted
his first ten years in the movie business
because he didn’t listen to good advice?
Seems Duke was working in pictures
but from behind the cameras, not in
front. He was doing pretty well, work-
ng as a grip, (Continued on page 125)
uy Madison was a disillusioned guy. Now he’s Photo-
1,1 lay’s star of the year — and Sheila’s happy husband
If!
Was it a mistake when Marilyn Monroe cut herself off
from husband Joe DiMaggio? Is Marilyn wondering?
John Wayne wouldn’t listen to friends — and his
debut in “ The Big Trail” left, became his biggest flop!
w$*
Doesn’t need a cue to talk about son Chris
It Should Happen
to a LEMMON !
Jack Lemmon is in "Three for the Show" and "Mister Roberts"
A talented guy, Jack plays several musical
instruments , sings, dances, composes
He looks like a young executic
lives like an average Joe.
Hollywood has never met anyc
like Jack Lemmon,
that comedian from Harvard
IF
.
Jut
.
ill,
bt a
Ft ki
*itl
iidii'
When Jack and Cynthia moved to Hollywood they passed up a
swimming pool for a garden. Jack’s become an expert on roses
• From the dimmed sidelines of the
stage, an eager young actor, in the cos-
tume and make-up of a middle-aged
English bobby, stood alerted and anx-
ious as he waited for his cue. It came
in the last few crucial moments of the
last act of “Angel Street,” just in time
for him to enter and arrest Francis Led-
erer, the husband with murder in his
heart. . . .
The young actor admitted he was
nervous. After all, it was his first role
with a real star like Lederer. True, he
didn’t have a word to say — but he had
action. And his role was tricky. After
all, he didn’t get a spoken cue. Nope,
he had to count his entrance — from the
time Lederer turned his back and started
walking off the stage towards the door.
Timing was all-important — poor timing
could ruin the scene. Awfully important,
he mumbled to himself as he kept his
eyes glued on Lederer. There, he’s turn-
ing his back, get ready. . . .
The young man made his entrance and
timed it to the split second — perfectly.
Then, in his enthusiasm, he jerked his
head sharply and the bucket-like hat
slipped down over his eyes. He couldn’t
see a thing and he couldn’t budge the
jammed hat. All he could do was grope
— and listen to the howling of the audi-
ence. Finally, the fleeing Lederer, for
plot purposes, saved whatever was left
of the scene by running smack into his
arms instead of out the door. And the
audience, which was supposed to be
screaming with suspense, applauded in
good-natured glee.
Today, Jack Lemmon still insists “that
was the biggest laugh I’ve ever had in
my life,” despite (Continued on page 129)
59
With Farley Granger. She fights for friends
with same enthusiasm she does for herself
Daughter “ Tord y” has changed ShelFs attitude
towards men, eased some of her fear of love
Shelley is also in "Mambo," "Night of the Hunter" and “The Jagged Edge’
With Julie Harris, Laurence Harvey in “I Am a
Camera.” Working for “Tordy” keeps her busy
With Marisa Pavan. She’s tongue-tied with
only two people — Britain’s Queen and Gable!
Spunky, temperamental,
needing love
but fearing it,
Shelley Winters dares life
to defeat her
BY DEE PHILLIPS
• In her early days in Hollywood, Shelley Winters made a discovery.
If you want to be a star, you better have personality. She hired a
press agent. Three days later she made page one of every morning
newspaper in town — a feat not to be underestimated in the
publicity-conscious town of Hollywood.
That morning thousands of readers saw a picture of an unknown
starlet named Shelley Winters being dragged away from an exclusive
party by two burly members of the local police force. By the time the
afternoon editions hit the stands, that unknown starlet had already
been nicknamed the Blond Bombshell and was well on her way to
becoming Hollywood’s most colorful glamour girl. Very few readers
stopped to read the corrections in the later editions — the corrections
that explained Miss Winters was merely being escorted to the local
Police Benefit where she entertained. It was a press agent’s stunt and it
worked. From that day forward, Shelley Winters was a star.
Since then, Shelley has had her share of ( Continued on page 131)
He lost his shirt and became a star
He was a swellhead.
Until he reached for
success and lost weight
around the waist — and
changed that head line
BY RUTH WATERBURY
Richard and Lori Nelson at Silver Springs where
preview of “Underwater!” was shown — under water!
Center , on location in Arizona for “Violent Sat-
urday.” Virginia Leith plays opposite Richard
At far right, with “Underwater!” co-star, Jane
Russell. Picture is Richard’s twenty-first!
With Barbara Darrow, Rosemarie Bowe at Silver
Springs. Aqua lungs weigh sixty pounds each
“The ham really boiled in me then,” says Rich of
early career when he flunked every screen test!
• “The toughest thing a guy can learn when he’s twenty,”
Richard Egan said, “is that he’s not as brilliant as he thought
he was when he was sixteen. It’s still tougher, when a few
years later, he has to face the fact that maybe instead of
being the biggest success in his field, he may end up being
its least-known flop.
“And that’s just the state I was in a few years ago. It was
the absolute low point in my ambitious life up till then. I
certainly wasn’t the boy wonder any longer. In fact, I began
to wonder if I were even an actor. It was then that I decided
to give up all thoughts of acting and go back home to my
folks in San Francisco and try something easier.
“Back home I tried to forget acting — for all of five
minutes. But I ultimately came back to Hollywood. I had to.
Acting has always been my goal, it always will be. And I
knew that while I faced lean years (Continued on page 1211
Richard Egan will also be seen in “Untamed'1
She's tired of playing the perennial waif
With Elsa Lanchester in “ The Glass Slipper ’
Excited about dancing with Fred Astaire!
Leslie Caron is in 20th 's
“Daddy Long Legs” with 1
Astaire and M-G-M’s “Gaby”
She's a magic sprite with a wistful face ,
a modern Cinderella in ballet slippers.
She’s restless when she’s loafing ,
enchanting when she’s dancing ,
is that gay ballerina Leslie Caron
W JOfflffi MET STEELE
• She never wears jewelry of any kind. She hates the smell of a
cigar. She is fond of all dogs, strong-.smelling cheeses
and roaming about department stores.
She wore a bikini bathing suit on the occasion of her first visit
to a Hollywood swimming pool when she first arrived here.
“I noticed everyone eyeing me strangely, and I came home and
told my mother, and she said: ‘Yes, of course, people in this country
have different ideas about swimming wear.’ I have never
worn it since.”
She is shy in the presence of strangers, and her mother,
Margaret Petit Caron, born in Topeka, Kansas, was formerly
premiere danseuse with the Greenwich Village Follies.
She was baptized Leslie Claire Margaret Caron. She hates beets
and turnips. She wears out more than one hundred pairs of
ballet shoes each year.
She doesn’t believe in hunches, plays no musical instrument and
is unable to practice economy.
She adores clothes, prefers black, would like to appear on the
stage as well as in movies. After she completes “Daddy Long Legs,”
she will play in “Orvet,” which Jean Renoir wrote for her.
She weighs 110 pounds. ( Continued on page 106)
Favorite film is “ Lili with Mel Ferrer
He forgets his wife’s name, won’t be serious
when he should, admits he’s a regular flirt.
A real crazy guy, this Mr. Burton
66
BY MARTHA BUCKLEY
he read the gossip of a London society writer:
Richard Burton has been titillating his Eng-
lish friends at all the fashionable soirees in
the better drawing rooms of London with
his hilarious accounts of the fantastic life in
Hollywood.
Burton glanced around the drab, smoky interior
of The Olive Branch, a nondescript public house in
a squalid part of London. A pub as far removed in
appearance as in distance from the glamour and
bright lights of the West End night clubs usually
frequented by visiting Hollywood stars. A pub
whose “regulars” are, for ( Continued on page 108)
Richard Burton is next in “Alexander the Great"
Richard Burton, looking as unlike a Hollywood
star as possible in baggy corduroys, a well-worn
tweed jacket and with bits of grease paint still
clinging to his forehead, put down the newspaper
clipping with a sigh and turned to the man behind
the well-worn oak bar in the murky London pub.
“Another pint of mild-and-bitter, please,” he
said, and then, picking up the dog-eared bit of pa-
per, turned to his companion.
“How do you like this?” he said, and in an exag-
geration of the majestic Shakespearean tones that
were thrilling patrons of the Old Vic Theatre night-
ly (and at matinees on Thursdays and Saturdays),
The fact that Sybil refuses to be worried by his
flirtatious tendencies is a continual source of
wonder. But she sees more than casual observers!
Hollywood was puzzled when the Burtons refused
to live in the style expected of a star. But it
wasn’t because Richard was stingy, as they said
“ When l was a kid” Rich recalls, “the only an-
swer to difficulties — and there were plenty — was
to work harder and laugh while we were doing it”
Misquoted he may be — but never about the man he
calls “my second father” the teacher who gave
Richard the chance to escape a life in the mines
Wisdom, humor and love — these are
the coins that Ann and Jim deposit
daily in their mutual marriage fund
BY ROBERT EMMETT
ANN BLYTH'S
LOVE BANK
Best investment is Timothy Patrick, Their social worlds were far apart. Ann learned early to become the person
first in their large-family-size dream But Ann and Jim have made them one she most loves to be — a doctor’s wife
• Ann Blyth, being a very sensible and bright
young girl, knew even before her wedding that
marriage called for some adjusting, some give
and take. She knew that just as most young
couples make a down payment on a house, move
in and must continue to make payments to a
I bank in order to make that house a long-lasting
possession, so must regular payments be made
to the invisible bank of love in order to maintain
a solvent marriage. Ann knew an emotional
shelter against the storms of daily living and
marriage have to be planned for in advance.
That they must be built day by day upon the
cornerstone of devotion with a hundred and one
little deeds of confidence, consideration, under-
standing and respect. Without these, a young
couple cannot build a working partnership.
“I was prepared — or thought I was — ” laughs
Ann today, “to make some adjustments in my
habits and schedule and to accept the little ten-
sions and strains that might come from our
separate careers or from minor domestic prob-
lems. But I didn’t realize the adjustments would
start so soon.
“When we returned from our honeymoon, we
unpacked, opened the (Continued on page 119)
69
Ann Blyth at W & J Sloane in Bev-
erly Hills, where luxury stores
tempt the stars — and the visitor!
Follow in Rock Hudson’s footsteps,
visit Farmers Market — it has some-
thing from all parts of the world
Pat Crowley and Lori Nelson at
Sunland Sports Lodge. If you like
tennis, California \ has the courts! I
70
A journey
to the stars
that will make
your vacation
seem like a trip
to Paradise
• In search of romance? Romance of
a thousand different varieties? Ro-
mance of sun and sea, of mountains
and timeless desert? Romance of see-
ing with your own eyes the glamorous
world of movieland? For all these
pleasures and more, a Hollywood va-
cation is the answer.
If sports are your greatest thrill,
you’ll find it easy to swim, sail, aqua-
plane, water ski. Or you may prefer
to have a go at tennis, horseback rid-
ing, hiking, volleyball, handball,
ature or standard golf.
There are miles of window-shop
for the gift-buyer. Or you may hi
chanted to investigate and buy soe
California’s own styles for yourse
In Hollywood you may exercise
curiosity by seeing motion-picture
in the flesh, by watching radio an
broadcasts, by visiting airplane i
tories, the Griffith Park planetariu
the nearby Mount Wilson Observe ]
irv
FREDDA DUDLEY
Hunter, Joanne Gilbert at
:’i at the Beach, Santa Mon-
popular seaside restaurant
Mitzi Gaynor and Jack Bean at
Luau’s, one of many restaurants
that cater to gourmet tastes
If you have time, visit fabu-
lous Las Vegas, mingle with stars
like Jane Powell at Desert Inn
At colorful San Pedro you’ll see
Jeff Richards, others, with their
boats, see famed fishing fleet
it chessmen intrigue visit-
llike Bob Francis, May Wynh
l ’aim Springs Racquet Club
f you yearn for culture, your fun
If lie in seeing a play at Pasadena
nmunity Playhouse, the Huntington
rtford Theatre, the Players’ Ring or
er legitimate theatres. You may, if
i desire, prowl miles of art galleries
I museums. You may hear sym-
Dnies under the stars at the Holly-
id Bowl.
lining out is an international matter
(Hollywood. You may dine in Sweden
icandia, in ( Continued on page 96)
i a trip to Hollywood , next page
\VI 'V \.
i
FIRST PRIZE
Round-trip transportation for two to Hollywood and
return — winner to have choice of traveling via either of
the following:
• Greyhound “Scenicruiser” Bus
• Trailways Bus
(Winner must start trip from nearest available embar-
kation point to his or her home town on either of the
above-mentioned bus lines.)
PLUS — a beauty bonus for the winner. A special
Hollywood beauty treatment by famed Max Factor of
Hollywood, on arrival in California. In addition, a
Max Factor treasure chest of cosmetics suited to the
winner’s type and coloring. Also a “Pretty Polka” print
swimsuit by Catalina and the “Damask Rose” swimsuit by
Rose Marie Reid.
SECOND PRIZE
Complete travel wardrobe, in winner’s size, selected from
the fashions featured in this issue’s fashion section. These
fashions originate from the following brand-name manu-
facturers :
Swimsuits: Red lastex sheath suit by Sea Nymph.
“Pin Money” print suit by Maurice Handler of Cali-
fornia. Dresses: four daytime dresses by California
Girl • linen dress with jacket by Justin McCarty of
Dallas • two daytime dresses by Uene Ricky. Shoes
by: Huskies. Luggage: Samsonite Ladies’ Hang-It-All
Case. Lingerie: Bra by Maidenform • “Living” bra
and girdle by Playtex • bra by Formfit • bra and
girdle by Lewella • packable petticoat By Koret of
California. Jewelry by: H. & S. Originals. Swim-
caps by: Playtex.
m
Six exciting prizes to be awarded
to the six winners in this
Photoplay vacation contest
P ut your dreams on paper and you may be
the winner in Photoplay’s exciting new con-
test. All you have to do is tell us, in a hundred
words or less, why you want to go to Holly-
wood. If you win the grand prize, you and
your traveling companion will be given a
round-trip ticket for two to that magic movie-
land of your dreams. Plus — a bonus beauty
treatment for one by famous Max Factor of
Hollywood on arrival in California. For the
next five winners there are other exciting
prizes described on this page. It’s a magic
chance to solve that summer holiday problem.
So don’t let this opportunity go by. The rules,
given below, are simple. And the prizes, out
of this world, good luck!
CONTEST RULES
1. Write or print on plain letterhead, in one hundred words
or less, why you want to win a Hollywood Holiday. Be sure
to give your complete name and address and mail your entry
to: Win a Hollywood Holiday, Box 1505, Grand Central Sta-
tion, New York 17, N. Y. Each entrant agrees to accept the
decisions of the judges as final.
2. All entries must be postmarked not later than mid-
night, May 15, 1955.
II
:li(
THIRD PRIZE
Shoes: Wardrobe of three pairs of Grace Walker
(Connie) shoes, in winner’s size, as follows: One
pair of casual shoes • One pair of dressy shoes • One
pair of “little heel” shoes (not illustrated on fashion
pages). Swimsuit: Sea Fashions cross-stitch print cotton
bloomer style.
FOURTH PRIZE
Three Clifton leather handbags.
FIFTH PRIZE
Swimsuits: “Gingerbread Man” print by Catalina •
Lastex print boy short suit by Maurice Handler of
California • “Staccato” sheath by Rose Marie Reid.
SIXTH PRIZE
A Meeker leather handbag.
Anyone living in the continental United States and 1
Canada may enter this contest except employees of Macfadden
Publications and their advertising agencies.
4. Each entry must be the original work of the contestant
and submitted in his or her name. Joint entries will not be
accepted.
5. Entries will be judged for originality, interest and apt-
ness of thought by the editors of Photoplay magazine.
6. All entries become the property of Macfadden Publica-
tions and may be used as they see fit. No entries will be
returned.
7. The winner will be announced in the August 1955 issue
ol Photoplay. The winner will be advised by wire no later
than May 30, 1955. This contest is subject to all federal
and state regulations.
8. Should the winner of the first prize be a minor, such
winner will have to be accompanied on the trip by an adult of
the winner’s family. In such event, the person accompanying i«
a minor shall be in lieu of a guest and be identified as .the ■
traveling companion entitled to accompany the winner on the 1 'j
round-trip ticket for two, to Hollywood.
SEE NEXT PAGE FOR
FASHION INFORMATION
io matter how you go,
ou're off on a Hollywood
loliday with Photoplay's
iwn travel wardrobe
pve/y Barbara Rush stars in U-I's " Captain Light foot"
TWA's Super Constellation
AWAY YOU GO- TRAVELING LIGHT IN COTTON
Trio of stars, a lovely sight to see in sight-seeing cottons.
Pretty Moy Wynn, left, loves the crisp lines of a pique charmer
starring new high square camisole bodice, long torso releasing
a flourish of skirt. A little girl look for the sophisticated
traveler. Sizes 7-15, 8-16. California Girl. Under $15.
On Preceding Page Pretty Barbara Rush graces the travel
scene in a costume spotlighting a flattering white linen sleeve-
less sheath, its collar and button front piped in same red, black,
white box plaid of the versatile cotton tweed cardigan jacket.
Center, Connie Towers in a jumper sheath vieing for 1955
honors, its boat neckline dipping low in back. Carnival of
colors. About $9. Right, pert Lucy Marlowe favors the sweet
look of massed flowers in a self-ruffled bouffant cotton print.
$14.95. 7-15. Both by llene Ricky. Jewelry, H. & S. Originals.
All pearl buttoned and very 1955. Sizes 8-20. By Justin McCarty
of Dallas. Under $40. She travels light with Samsonite's compact
Hang-lt-AII case, $25. Red pillbox by Madcaps. Glovelets by
Wear-Right. Glitter jewelry, Trifari. Bur-Mil Cameo hosiery.
Continued
74
For W here to Buy these cottons turn to pages 104 and 107
Any girl who
wears a Catalina
swimsuit is apt to be
singled out for
special attention
by Mr. Cupid.
That's because Catalina
swimsuits not only
shimmer with
high fashion— they
are engineered
to flatter specific
figure types.
The Glamour Guide
at right shows
which Catalina
swimsuits will do
the nicest things
for you. Why not
take this chart with
you when you shop?
Tan with Tartan
Gingham Gal . . . Justin McCarty’s
daisy-fresh crease resistant two-piece
gingham check, with crisp pique collar
accented with a velvet bow . . . the
skirt’s slimness released with a kick-
pleat in back. Green, turquoise,
black, brown. Sizes 6 to 18 . . . $17.95
Write for store nearest you.
JUSTIN McCARTY • DALLAS, TEXAS
HOLLYWOOD
PHOTOPLAY TSAVc
For
Where to Buy travel fashions
turn to pages 104 and 107
AWAY
YOU GO- Mory Murphy stars in Paramount's "Hell's Island "
TRAVELING LIGHT IN COTTON
Above, in the lounge of TWA's Super Con-
stellation, Mary Murphy wears fashion's love,
the shirtwaist dress in checked gingham,
tailored perfectly with boy collar, barrel
cuffs. Bouffant skirt rustles with its own
crinoline. Lovely pastels. Under $18
Mara Corday's next in U-I's "Foxfire" with Jeff Chandler
In shape for the sheath — Mara Corday in a
reed-slim dress starred for travel. Washable,
creaseless linen-look rayon with Empire bod-
ice shaping a surplice closing. Under $18.
Sizes 7-15, 8-16. Both by California Girl.
Pearls, H. & S. Originals. Trailways Bus
Continued
76
Gloria de Haven
Starring in “The Girl Rush1
a Paramount Picture
w Joan Bennett >
Starring in “We’re No Angels'
a Paramount Picture
Ginger Rogers
Starring in “Twist of Fate’
released thru
United Artists
You’ve never worn a more comfortable swim cap/ The
exclusive “contour-molding” and wonderful stretchabil-
ity means there’s no binding or pressure with Playtex
Swim Caps. Yet special watertight seals give maximum
protection to ears and hair-do. Good looking, too . . .
designed with an eye to fashion in three different colors
—white, red, blue. Only $1.00 at drug stores everywhere/
©less International Latex Corp'n. PLAYTEX PARK, Dover Del. ★ In Canada: Playtex Ltd., Arnprior, Ontario
m m glamou l
rvympn =
Write Penny Lewis for
JORDAN
Sea Nymph of Canada , 425
Get your man and keep him with Sea Nymph —
the best man-bait yet to win your kind of fella now and forev i
Left: Shirred sheath, tempting in or out of the water. $11
Right: Little boy shorts, decidedly feminine, gets him every timeM
In run and fade resistant Celaperm® lastex.
Perfected built-in boned bra in all
Sea Nymph suits plays up your best curves.
Misses 32-38, juniors 9-15, teens 10-16.
the Rockies.
I
HOLLYWOOD HOLIDAY
OHOTQI’LAY .TRAVEL FASHIONS
AWAY YOU GO-
TRAVELING LIGHT
IN COTTON
continued
Mym a Hansen is featured in 1 1-l's "Man Without a Star"
Boarding Santa Fe's Super Chief, Myrna
Hansen wears an easy-on, jet buttoned
coat dress. Satin-striped handkerchief
cotton's travel perfect and fashion-
wise. Long line bodice is sleek down
to the full flare skirt. Spanking white
peau de soie collar frames, flatters
your face. Sizes 7-15, 8-16. By Cal-
ifornia Girl. Under $15. Wear-Right
glovelets. For a fleet-footed miss,
her darling on-the-go Kiltie shell
skimmers, right. Butter-soft glove
leather with pancake heel. Colors to
spark your cottons. By Huskies. $4.99
Continued
For
Where to Buy travel fashions
turn to pages 104 and 107
Every gal becomes a long-stemmed
beauty in this dramatic faille lastex
confection by Maurice Handler,
designed for Junior figures only.
No wonder it brings out the siren in
you . . . and the glint in a fella’s eye!
Ingenious boned bra, concealed
’neath fly-away wings. Under <13
Aqua, brown or black with pink,
lilac with lavender. Sizes 9 to 15.
MAURICE HANDLER OF CALIFORNIA
846 South Broadway, Los Angeles, Cal.
79
II O LLY WOO O 1IOU IIAY
PHOTOPLAY TRAVEL FASHIONS
MARY MURPHY
co-starring
in Paramount’s
“Hell’s Island”
Filmed in VistaVision
Color by Technicolor
TOPS FOR
EN ROUTE
TOSS-ON
For Where to Buy trayel fashions
turn to pages 104 and 107
Terry Moore stars in 20th Century-Fox's "Daddy Long Legs"
The beloved velvet-collared Chesterfield
jacket goes casual in a new checked cotton
and rayon homespun fabric, crease-resist-
ant, water-repellent and a traveler's de-
light. Terry Moore wears it with great chic
over playclothes or late-day cottons. Black,
avocado, peacock with white, cocoa with
beige. 7-15, 8-16. By Wilroy. About $12.95
Continued
80
ini
AIR COMOlTtOMEI
iPWiMW
C16Q8
I’m buying this. ..with what I saved -
Town and Travel Shop - Beverly Hills, Calif.
- TXAILWAYS HOLIDAY TOUR
It’s like getting a new dress for free, whether
you buy it in your home town or, like me, in glamorous
Beverly Hills. This year make your holiday tour by
trail WAYS and enjoy scenery level luxury travel for less!
Traihvays Tours, including hotel accommodations
and sightseeing, are available to all of the vacation areas
in this country, Canada, Mexico and Alaska . . .
and even overseas. Write today for your FREE copies
of colorful illustrated folders describing
TRAILWAYS 1955 tours.
T RAILWAYS, DEPT. P-55, 1012 14th St., N.W., Washington, 0. C.
Please send me one of your free full color vacation folders. I am interested in
□ expense paid tour □ vacation trip (check one).
To .
From
Approx. Leaving Date
Name
Street Address
City Jii State
HOLLYWOOD HOLIDAY
PHOTOPLAY TRAVEL FASHIONS
Joan Fetlierston, lovely young
dancer aiul TV actress, says:
“It’s such wholesome beauty care
for my dry skin ! I never knew
any soap could do so much so
gently until Candy taught me to
beauty-wash twice every day with
mild Cashmere Bouquet. I just
cream that fluffy, fragrant lather
over my face with my fingertips.
It leaves my skin looking wonder-
ful — smoother, softer, with a
lovely, fresh glow!”
Complexion and big bath sizes
“ Scatter a few cakes of
Cashmere Bouquet through
your lingerie and handkerchief drawers.
Leavesa lovely, flowery fragrance, much
more subtle than sachet! ”
TOPS FOR
EN ROUTE
TOSS-ON
continued
For
Where to Buy travel fashions
turn to pages 104 and 107
\\alch yotii' skin thrive on
Cashmere Bouquet Soap!”
(Mrs.
beauty
Conover sch°°l;;0; ■«. «n
1
82
Fashion-wise Rosemarie Bowe travels in a
I cool, cool sleeveless version of the new
Paris-inspired overblouse fashion. It stars
a rounded collar, cutaway shirt bottom in
the best man-tailored tradition and added
self belt that forever cinches your waist.
In an Everglaze rose'n'chair cotton fun
print of red, blue or maize on white ground.
I Sizes 30-38. By New Era. Price about $3.98
Rosemarie Bowe's in " The Big Bluff,"
a W. Lee Wilder production
The ever-ready blouse with real talent for
looking crisp whether under your travel suit
or fancy-free with your shorts. In wash-
easy Sanforized cotton broadcloth, the soft
Baby Doll look's pointed up by the pretty
sleeve puffs and spanking white rosebud
embroidered collar. Colors are delectable
pink, blue or yellow, all with neat white
collar. Sizes 30-38. New Era. About $3.98
Continued
and Greyhound will arrange
a complete vacation package
tailored to your taste— fitted to your budget!
Vacation Planning Service — at no extra charge — is yours, at
any Greyhound Travel Bureau. Expert counselors make hotel
reservations, schedule transportation, special sightseeing ... or
tailor complete Expense-Paid Tours (like examples below).
FREE! VACATION PLANNING MAP-showing dozens of places and Tour prices.
Mail to Greyhound Tour Dept., 71 West Lake Street, Chicago, Illinois.
Name
Address
City & State
Send me special infor-
mation on a Tour to: ts-s-ss
CALIFORNIA -YOSEMITE A magnificent three-week vacation in
Hollywood, San Francisco, and beautiful Yosemite National Park;
20 nights’ hotel included, from Detroit $205.86
FLORIDA CIRCLE — Visit every sun spot
from St. Augustine to Miami, Key
West. 11 days from Jacksonville $82.85
NEW ENGLAND CIRCLE
6 days from New York . . . $57.05
COLORADO ROCKIES
13 days from San Francisco . . $128.00
OLD MEXICO (Escorted from Laredo)
12 days from San Antonio . $137.80
CHICAGO— With a night club, and din-
ner at a theater-restaurant included.
5 days from Cincinnati . . . $49.25
PACIFIC NORTHWEST
13 days from Los Angeles . $111.40
NEW YORK-WASHINGTON
7 days from Pittsburgh . $65.00
COLONIAL VIRGINIA
6 days from Washington . $45.50
Similar tours available from your city. Prices shown include double-room
hotel rates (per person). U. S. tax extra. Prices subject to change.
P
! GREYHOUND®
I
83
Pack it all... Take it all in one case!
iVew Samsonite Hang-It-All !
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Featured :
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finishes that wipe
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amp cloth.
SADDLE TAN
BY THE MAKERS OF SAMSONITE CARD TABLES AND CHAIRS
*AII prices subject to existing taxes. Prices higher outside continental U. S.
Look!
It carries everything!
It can be separated into
compartments
put them together,
they spell HANG-IT-ALL
— the lightest way to
carry everything for y n
vacation in one case!
The hang-up top —
it holds up to
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the bottom lies
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accessories,
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LOOK AT ALL YOU GET
for only $25*
This firm yet light ease separates, the
top attaches to any door (with its re- [j
movable hang-hook). Hang-It-All ear- ji
ties up to 8 dresses on its own non-
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your clothes neatly, wrinkle-free.
Bottom lies flat for packing accessories, |
toiletries, shoes. Elasticized cover- i
curtains on both top and bottom keep '
all your things neatly in place. Put the
top and bottom together... snap shut
the streamlined, non-tarnishing brass
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COLORADO BROWN
II 0 1, 1/ V wo OH IIOI.I DA 1
PHOTOPLAY TRAVEL FASHIONS
FASHION ARRIVAL-
SWITCHABOUT SEPARATES
Marjorie Hellen appears in 20th's " Daddy Long Legs"
To stretch the summer budget, show off
your fashion know-how, a quartet of coor-
dinated separates designed by Stella
Landre of llene Ricky. Marjorie Hellen,
above, wears a smart sleeveless beach
coat with triple string ties. The surprise
fabric, familiar striped cotton ticking,
newly flower embroidered. About $13. It's
lined in same gold polished cotton of the
flattering princess swimsuit, back-zipped
down to its drawstring bloomer. Under $18
More double take-alongs for the scene of
your Hollywood Holiday. The shiny gold
polished cotton blouse with flattering
side-swept boat neckline ending in shoul-
der ties, about $5.95. It tucks into Mar-
jorie's full stand-out skirt of unpressed
pleats in the same embroidered ticking,
with a bonus in added gold cotton belt.
About $14.95. Teamed, these go sunning
or dancing with the greatest fashion
ease. All sizes 7-15. By llene Ricky
Continued
For
Where to Buy switchabout separates
turn to pages 104 and 107
HOW TO GET
TO HOLLYWOOD
“Fly TWA' ' —
that’s what Mary
Gordon will tell
you. Just step
aboard one of TWA’s fast, comfortable
planes . . . and before you know it, you’re
stepping out in the heart of the motion-
picture world (feeling like a star your-
self! ) . When you fly TWA, you add extra
hours, extra days to your dream trip.
TWA's bargain fares will make you think
they were planned with a career girl in
mind. And not only does TWA offer low
rates, but flying TWA saves you heavy
expenses en route . . . gives you more
money to spend on vacation fun.
TWA's Time Pay Plan is the perfect plan
for a budget-minded girl ! The smallest
down payment sends you on your Holly-
wood holiday. You pay the balance in
monthly installments . . . spread over as
long as 20 months.
Ask about TWA's Western Tour. It’s made
to order if you’d like to include many
places and pack as much fun as possible
into your two weeks’ vacation. Spend 14
wonderful days in Los Angeles, Holly-
wood, Yosemite, San Francisco, Las Vegas.
For more details, visit your travel agent or
local TWA office, or mail the coupon below
to Mary Gordon of TWA.
Fly the finest. ..FLY
TUANS WO AID AIHUNMS
r FILL OUT AND MAIL 1
Mary Gordon of TWA, Dept. P55
Trans World Airlines
380 Madison Ave., New York 17, N. Y
I am interested in information on a trip from
to Hollywood on or about
Also, please send me details on:
□ Time Pay Pian Q How to Tour the
West in 2 Weeks
Name
PLEASE PRINT.
Address _
City & State _
85
YOU’RE IN
M-G-M's Taina Elg, left, graces the
sands in the newsiest print of the sea-
son— rows of darling gingerbread men
(our favorite's pink and cocoa) on a
shirred cotton suit with flouncy ruf-
fling. 32-38. Under $13. Gingerbread
man beach towel, $3.95. By Catalina
Below, fine-pleated pale pink cotton
makes the Pretty Polka suit, its flared
double-ruffle bottom and bra top both
white dot-embroidered. Elastic shir-
ring insures for Lisa Montel the shape-
ly little girl look. Panties, of course.
Sizes 32-38. About $12.95. By Catalina
fHE HOLIDAY SWIM
:or Where to Buy
holiday swimsuits
to pages 104 and 107
Right, Fox's lovely Marjorie Hellen
spends her day in the sun in Rose
Marie Reid's Staccato, an elasticized
faille sheath, with shirred front panel
for a dreamboat figure. White split
bra top has touch of embroidery. Sizes
10-18. Fashion colors. About $15.95
Below, capturing the beach scene,
Rosemarie Bowe in a sleek red prin-
cess-line sheath suit, with a plus in the
snow-capping lingerie touch. Triple
ruffle of white nylon eyelet lace adorns
Pellon-reinforced bra, intensifies your
tan. 32-38. By Sea Nymph. About $1 I
All
fashion photographs
by Christa
Rosemarie Bowe, below, in Damask
Rose, a bengaline glamour sheath
topped with bewitching black lace.
Sheer overlay of whispy black net has
embroidery of Shocking pink flowers.
All in the famed hourglass silhouette.
10-16. Rose Marie Reid. About $35
Continued
f
Carry a classic
Cllfton-lt goes
everywhere
with everything!
Here’s the one fine accessory that
gives you so much for your spring
fashion dollar! The secret? Classic
lines, sculptured hand-tooling. It’s
distinctively right ... wherever
you go . . . whatever you wear.
Wouldn’t a classic Clifton bag be
a wise spring purchase for you?
Shoulder or underarm models in
rust, dark brown, oxblood, tan, and
natural russet. Full grain saddle
leather with leather lining and
compartments; zipper, leather, and
brass closures. Retail from $2.98 to
$21.75.
At Fine Stores Coast-to-Coast
For dealer nearest you write:
WESTERN SUPPLY COMPANY, Ardmore, Oklo.
IIOLI.Y WO O O II O L I DAY
PHOTOPLAY TRAVEL FASHIONS
YOU’RE IN
THE HOLIDAY SWIM
continued
For Where to Buy holiday swimsuits turn to pages 1 04 and 1 07
For our upcoming season in the sun, lovely Taina Elg, left, spot-
lights sparkling white in a sharkskin lastox suit with figure-con-
forming shirred side panels, a flange bra bedecked with tiers of
red and white checked Chromspun ruching. $10.95. Right, Lisa
Montel in new long torso bloomer silhouette. Bright stylized cotton
print has petal bra, peek-a-boo inset. Guaranteed lock-stitching
insures long wear. Under $8. Both sizes 32-38. Swimplay suits by Lee
Continued
Taina Fig is in M-G-M's production, "The Prodigal" • Lisa Montel, next in "Escape to Burma." RKO
88
aloft
N303AA
AMERICAN
selected by the stewardesses of AMERICAN AIRLINES for smartness and comfort
“ SKY-WALKERS ”
Official “ In-Flight ” casual
in blue or tan.
Also red and black.
High as the sky in smartness and
comfort — that’s Grace Walker!
And the millions of style-
conscious women, who already
know, now welcome the 1000
stewardesses of American Airlines
who have adopted Grace Walkers
as their approved shoe! Choose the
shoes they voted tops for style
and fit. And, while you’re looking,
check the other smart shoes in
the beautiful Grace Walker line.
You’ll be glad, glad, glad!
“STAR-SPECS"
Official tan and white
spectator. Also in blue,
“ STAR-STEPPERS ",
\ as modeled by
\ Miss Marilyn Cope,
\ a typical
\ American Airlines
\ Stewardess.
“ ENCHANT "
In avocado, blue,
black, or white.
“ BLAINE "
In avocado, red, blue ,
black, or white.
Patterns illustrated: $9.95
(Other styles $6.95 to $10.95)
^ SHOES
created by FRIEDMAN-SHELBY division
International Shoe Company • Saint Louis
89
HOLLYWOOD IIOI. 1 1IAY
90
be a Meeker Peeker . . .
Alexis Smith
now starring in Republic's
"THE ADMIRAL HOSKINS STORY”
See what’s
inside Alexis Smith’s
meeker
HAN CD E3 AV <3
and it all fits neatly! . . . because this handbag features
SEVEN roomy POCKETS. Meekers are famous for their
many compartments . . . their rich hand-tooled designs in
hand-colored steerhide. Styles also in smooth saddle leather
. . . at fine stores. *15 to *35 plus tax.
THE MEEKER CO., Joplin, Mo., New York Office: 347 Fifth Avenue
Lett: The Meeker Cash ’n Carry
has outside coin purse. Right: The
Money Mad Billfold has removable
pass case. Both come in blue, red
and green plus six luscious new
pastels . . . Cowhide at $5 plus tax.
YOU’RE IN
THE HOLIDAY
SWIM
continued
TO KEEP YOUR SUMMER HAIR-
DO NEAT AND SWEET . . .
Taina Elg retains the well-groomed
look despite sun, wind or weather with
Helene Curtis Spray Net, a must for
any vacation. Keeps hair softly in
place all day, sets in a wink. Regular
or new Super Soft (no lacquer), in
aerosol containers. $1.25 plus tax
Sunning in style, Taino Elg loves the
slimming boy short look, this one sport-
ing a print of festive dancing figures
in the bright sealed-in color of Cela-
perm lastex. Winged bra detail points
up reverse-side color print, shadow-
proof when wet. Red, blue, green or
white. 9-15, 8-16. Handler of Cali-
fornia. $14.95. Veaurtnont pixie hat
Left, Taina in the "Pin Money" cotton
sheath we've fallen in love with.
Dotted fabric's ascatter with a print,
of gold safety pins, and a for-real pin
shines at the bra cuff. Elasticized back,
shirred front for good figure control.
Red or aqua with gold-piped bra and
leg cuffs. Sizes S, M, L By Maurice
Handler of California. About $8.95
Continued
y<H-o to Vifik a.© A- (m. JSmuI
Who’d think my unassuming wiles
Would roll ’em in the British Isles!
* SKIPPIES PANTIES • LIFE BRA
But there I was in London town.
Just turning traffic upside-down;
For
Where to Buy holiday swimwear
turn to pages 104 and 1 07
BY FORM FIT
Fran wears a slimming-and-
smoothing Skippies Pantie Girdle
#843 ... of nylon elastic net, with
satin elastic front and back panels.
Small, Medium, Large. $7.50. Her
bra is the new Life Romance #566.
32A to 38C. $2.00.
Where everything, normally, stops for tea,
It stopped, all right . . . for liT ol’ me!
On seeing me, a foreign power.
Big Ben forgot to strike the hour.
The blokes around Trafalgar Square?
Oi ’ad ’em in a fog, for fair!
A Baron viewed me through a spyglass,
And one old Dukey dropped his eyeglass.
( They said, by diplomatic courier,
That I made Merrie England merrier! )
Prices slightly higher in Canada o i •
1 he reason : Kumor has it so :
My Formfit outfit,* don’t y’know!
CHICAGO • NEW YORK • TORONTO
THE FORMFIT COMPANY •
PHOTOPLAY travel FASHIONS
92
COTTON COORDINATE
A floral spray skirt in
polished cotton . . .
broadcloth belt in soft
shrimp . . . about $8.
Coordinate shrimp
broadcloth blouse...
about $5.
Sizes 7 to 15.
For name of your nearest store see Photoplay's Buying Guide
YOU’RE IN
THE
HOLIDAY SWIM
continued
Very 1955, our pair of swimsuits in this
year's popular silhouettes. Dancer Taina
Elg, right, stars the long, lean bodice
line bursting in a saucy bloomer puff.
Unusual cotton cross-stitch print is ac-
cented by blaclc-piped V-line, bold black
cross motif on bra band. Sunny tangerine
or aqua. In sizes 32-38. By Sea Fashions.
About $7.95. Lovely Lisa Montel, at left,
wears the Dream Boat suit with exquisite
ballerina lines interpreted in a polished
Everglaze cotton narcissus print. Extras:
bouffant self underpanties, Pellon-lined
bra top. In burnt orange, blue or rose on
white. Sizes S, M, L. By Nanina. Under
$8. Their pretty sunglasses by Ray-Ban
Continued
For Where to Buy holiday swim-
suit* turn to pages I0‘4 and 107
4 jAdSdi-
sponsors the
Helene Curtis SPRAY NET* keeps your hair prettily in place
all day, but with a bewitching softness.
How should your topknot look this season? Grimly lacquered
into place? Wildly waving in the breeze?
Change your hair style without a
bit of trouble , for spray net brushes out
instantly. It doesn’t flake or ever get the
tiniest bit sticky.
No drooping curls on rqiny days.
With spray net your hair pays no mind
to dampness or humidity. Curls and
waves stay in, weather or no.
Never! This season the look is soft and shining hair that
stays put in the prettiest way.
For Helene Curtis dipped deep into a chemist’s tube and
came up with a delightfully different hair spray. A hair spray so
silky ... so soft it couldn’t possibly make hair dry or stiff or
brittle. Yet it held each curly straggler in place. Waves behaved
despite humidity. Flyaway hair tamed down nicely. In a word —
it worked! And softly, prettily!
So here, from Helene Curtis to you, with flattery in every
swoosh, is spray net. The ladylike-way, the pretty soft-way to
curb your curls and hold your wayward waves !
*T. M. REG. U. S. PAT. OFF.
Use SPRAY NET every day, as
often as you like, for it contains ex-
clusive Spray-On Lanolin Lotion.
Keeps your topknot soft and silky.
Set your pin curls in a hurry. Just roll them
up, make large loose curls on top, smaller ones at
your neckline, then spray with spray net. They'll
dry in minutes, they'll look soft and pretty.
$|25
Giant Economy
Size $1.89
Nou> there are two types of
Helene Curtis SPRAY NET
Let your hair be the judge. If it's "baby-
fine" or you like the casual look, the
new Super Soft spray net, without lac-
quer, will be beautifully right. For hair
that's thick, harder-to-manage,for elab-
orate hair-dos, use Regular spray net
. . . already the favorite of millions!
Plus tax.
SUPER SOFT
OR REGULAR
93
PIR
STRIPE
^Sleek-as-a-seal petal
sheath over a satin
stripe top and bottom.
Of color-locked
JpChromspun lastex faille
Zi in red, turquoise, royal,
black, sizes 32-38.
The specially-designed
bra will work wonders
with your figure!
about C
At good stores everywhere, or write:
East - MARLYLE SPORTSWEAR CORP.
1410 BROADWAY, NEW YORK 18, N. Y.
West of the Miss. - SEA FASHIONS INC.
939 S. BROADWAY, LOS ANGELES, CAL.
3. To resort partying goes c
kid sandal with braided
pings. Prettiest in pastel:
queline design by Wohl.
4. Close-up of travel pump
in color on page 73, stari
its smooth, slim line. P<
kid. Jacqueline by Wohl.
5. Our Star Fashion Award t<
shoe in creamy glove l«
sporting Mexican hat 1
pancake wedge. By Huskies
6. Grace Walker's sleek put
suit-able wear on the go.
heeled polar bear calf ac<
by brown saw-tooth trim.
7. Touchof holidayglamour-
trimmed pink lustre calf d
sandal, its open back desig
cling. Jacqueline by Wohl.
8. Shoe with nine lives, opei
and sling-backed in clou
calf, beaded winged bow.
ion colors. Grace Walker.
?. Hold-all bag in rich red
triple inner pockets foldir
cordion-style. Strap's adjus
By Meeker. About $2 1 pi
For
Where to Buy
turn to pages 104 and 10
More fashions or eext p
94
1
only all-chair streamliner daily
between Chicago and Los Angeles
• "Stretch Outreclining chairs
• Big Dome” viewing of tire
colorful Indian Cbuntiy
• Delicious fiedHaiveylbod
Transportation Costs For Your Hollywood Holiday
To Hollywood :
Round-Trip Fares
From and Returning
To:
Via
Greyhound
or
Trailways
Via
Rail
(Lower
Berth)
Via
Rail
(Chaircar)
Via
Air
1st Class
Via
Air
Aircoach
Atlanta
$ 86.74
$209.79
$119.63
$264.88
$193.38
via Dallas
Boston
117.54
301.52
166.19
350.24
233.20
Chicago
77.94
185.30
99.17
239.91
167.20
Dallas
55.28
127.88
63.80
161.59
125.40
Denver
43.89
122.60
66.66
126.94
94.60
Detroit
90.81
219.67
119.68
271.70
189.82
Minneapolis
via Kansas City rail
75.46
181.94
99.17
230.89
182.82 '
New York
112.31
287.68
158.84
reserved seat
332.09
217.80
St. Louis
72.77
175.94
94.11
217.36
160.60
San Francisco
11.83
48.84
The Lark
Roomette
19.03
Daylite
46.09
29.70
( Federal Transportation Tax of 10% — 5% less than last year — included in all quotations)
( Continued, from page 71)
Paris at Perino’s, in Hawaii at Luau,
in Italy at Villa Nova, in the good old
USA at Captain’s Table, Jack’s at the
Beach, Barney’s Beanery, or the Brown
Derby.
Part of the fun of a Hollywood vaca-
tion is the trip itself. You have your
choice of traveling by plane, train or
streamlined bus.
Since last year almost all transporta-
tion companies have arranged budget
plans permitting you to make a small
down payment on a trip, take the trip,
finish paying for it in comfortable
monthly installments. If you live in a
big city, consult a good travel agency
about these plans. If you five in a small
city, talk to the local representative of
the rail, bus or airline company, or in-
quire through Photoplay’s own serv-
ice which is noted on page 98.
Next problem: What shall I take
along? There are a number of general
hints on what you’ll need for a Holly-
wood vacation. California nights are
cool and days are usually hot. Thus
you’ll be happiest with a wardrobe of
light cool dresses for daytime wear,
with a topper for evening use. In addi-
tion, one simple dark suit and one sim-
ple and one dressy blouse will take you
almost anywhere. A basic dark dress
and a pair of comfortable shoes round
out the essentials.
Aside from the clothes you take with
you, you may also wish to buy other
clothes in California. Its sports clothing
is world famous, and you may wish to
buy bathing suits, casual cottons or
party separates after you arrive. The
shopping is all part of the fun here, too.
Upon arriving in Los Angeles, the
first thing to do is secure a map of
Southern California.
If you are driving, get a map from
any service station. If you have arrived
by bus, train or plane, your hotel will
undoubtedly have a guide book avail-
able.
The second move for a quick survey
of the city is to take a Gray Line Bus
Tour, or two or three. These tours are
arranged so that you get the most en-
joyable experience at the least possible
expenditure of time and money.
The Gray Line collects travelers from
each of the major hotels (Ambassador,
Beverly Hills,. Beverly Wilshire, Roose-
velt, Knickerbocker, Biltmore, etc.)
and returns them to the same hotel or
the route-point of their choice.
Tour #5 sets out daily (excepting
Sundays & holidays) at 9 a.m. or at 2
p.m. It takes three hours and costs $4.30,
including tax. You are whisked past
Angeles Temple, founded by the cele-
brated evangelist, Aimee Semple Mc-
Pherson, and now presided over by her
son, Dr. Rolf McPherson. You go
through Griffith Park, past the River-
side Rancho, the Walt Disney Studios,
the Toluca Lake homes of such stars as
Bob Hope and Dana Andrews. Lakeside
Golf Course is also on the route. You
also go through Universal -International
Studios, where it is likely (if you’re on
the morning tour) that you wilj see '
Rock Hudson, Piper Laurie, Rory Cal-
houn, Jane Wyman, Joan Crawford or
any of a dozen other stars on their way
to luncheon at the commissary. On your
return, you will go past the world-
famed Hollywood Bowl.
Gray Line Tour #2 leaves at 9 a.m.
or at 2 p.m. daily the year around. It
costs $3.35 and it takes three hours.
You see the original Brown Derby Res-
taurant (built in a hat shape). You will
see Hollywood Boulevard and you
pause in the forecourt of Grauman’s
Chinese Theatre to scan the footprints
of celebrities left on concrete. You will
visit the campus of UCLA (University
of California at Los Angeles) . Also,
along the way, you will glimpse the
baronial estates of the stars. And as
your bus reaches the coastal highway,
you will see the Pacific in all its beauty.
Gray Line Tour #6 leaves daily at
9:30 a.m. and 2:30 p.m., takes three
hours and costs $3.10. This trip takes
you to Forest Lawn, said to be the
world’s most beautiful memorial park.
Located in Forest Lawn are the cele-
brated “Little Church of Flowers” in
which Virginia Mayo and Michael
O’Shea were married, the “Annie Lau-
rie” church “Wee Kirk o’ the Heather”
and the “Church of the Recessional.”
In the mausoleum there are hundreds
of pieces of sculpture, the stained glass
window depicting “The Last Supper”
and the Hall of the Crucifixion where
you will see Jan Styka’s masterpiece
“The Crucifixion,” a painting 195 feet
by 45 feet.
Note: Those making this trip should
dress appropriately and wear a hat.
Forest Lawn is a hallowed place.
Gray Line Tour #8 is scheduled for
9 a.m. daily except Saturdays, Sundays
and holidays, costs $2.65 and takes four
hours. On this trip you visit St. Sophia
Cathedral (Greek Orthodox Catholic
faith) whose most celebrated layman
was the late Charles Skouras. After that
you will drive through MacArthur
Park, and then to a radio or tv broad-
cast, depending upon what is most ex-
citing on that day. Afterward you will
be taken to the Farmers Market for
luncheon (not included in the tour
price) .
Tanner Gray Line Tour #1 sets out
daily (excepting Mondays) at 2 p.m.
and costs $3.10, employing three and a
half hours to great advantage. Even if
you are driving your own car, this tour
would be an advantage over personal
driving from an economy and enjoy-
ment point of view. You are taken
through the Los Angeles Civic Center,
on past Sycamore Grove Park to Orange
Grove Avenue. In the old days this was
known as “Millionaire Row” and the
Wrigley mansion was one of the great
show places. You will see the Rose
Bowl, the California Institute of Tech-
nology and finally you will reach Hunt-
ington Library. Here you will want to
see the gardens, art galleries with
Gainsborough’s famous “The Blue Boy”
and other noted paintings. The histori-
cal manuscripts are world-famous, and
include a remarkable 14th century illu-
minated volume of Chaucer’s works.
From the Huntington Library, Tour #1
will take you to San Gabriel Mission
(350 admission is charged so that the
grounds and church may be main-
tained) to give you another insight into
California history.
Gray Line Tour #9 is a night tour,
starting every evening at 7 p.m. It takes
three and a half hours, and costs $3.10
for transportation. Naturally, any pur-
chases you make on route are extra.
This tour takes you through Olvera
Street.
Olvera Street is shabby in the re-
96
morseless light of day, but at night it
takes onxall the romance of the candle-
lighted long ago; Mexican mariachis
stroll the street. Mexican shops offer
scented candles, handmade laces, hand-
woven serapes and huarachos. And in
the restaurants, you may sample the
Mexican hot chocolate made with
vanilla and cinnamon.
On Gray Line Tour #9, you will also
see China Town — and drive on past the
Mulholland fountain, the Griffith Park
Observatory, and along Hollywood and
Wilshire Boulevards — in the heart of
Movieland.
Having polished off the short trips
around Los Angeles, the avid adven-
turer should set out on some excursions
requiring more time. All of these field
trips are recommended for families
traveling with children, but adults will
enjoy them just as much as the small
fry do.
SOUTHWEST MUSEUM: 234 Museum
Drive, CApital 1-1318. (Highland Park)
This is the towering cream-colored
structure visible to the northwest from
the Arroyo Seco (Pasadena Freeway).
The easiest way to reach it is to follow,
or take, a northbound W car to Mu-
seum Drive. (There are signs on the
right pointing to Museum Drive.) If
you aren’t sure where to catch the W-
line car, call PRospect 7211 and ask for
Information.
Southwest Museum (admission free)
offers to those interested in Indian lore
a fascinating history of the Red Man
throughout the Americas.
The Museum is closed on Mondays,
otherwise it is open daily from one un-
til five in the afternoon.
KNOTTS BERRY FARM is located
two miles south of Buena Park on
Highway 39. Buena Park is reached by
driving east on Manchester Boulevard,
which becomes Firestone Boulevard,
which is literally Route 101. If you
aren’t driving, the Tanner Gray Line
offers a fine Knott’s Berry Farm ex-
cursion. The year around, buses leave
at 2 p.m. and return after dinner. Cost,
exclusive of food, is $3.35. From June
15 to September 16, the Gray Line offers
a full day’s excursion on Sundays,
Wednesdays and Fridays, leaving at
8:30 a.m. and providing sight of Holly-
wood Park Race Track, the Beach cities
from Hermosa to San Pedro, Fort Mac-
Arthur, Los Angeles Harbor, the Long
Beach and Signal Hill oil fields (forests
of derricks), and Knott’s. The price,
exclusive of food, is $5.50.
What are the charms of Knott’s? First
of all, food. Prices are moderate and
the food delicious.
The Ghost Town at Knott’s is its sec-
ond great attraction. The town is open
from 12: 30 p.m. until 9: 30 p.m. daily and
has a saloon that serves soft drinks; a
newspaper office that will turn out the
story of your trip; and you can take a
stagecoach ride or tour part of the
grounds on a narrow gauge railway.
There is a “working” gold mine, a
theatre, a rickety hotel transplanted
from a ghost town board by board, an
assay office and a jail.
There is a medicine man who plays
banjo and sells boysenberry juice, a
! top-hatted gambler dealing Faro, and
a music hall populated by ancient mu-
sic boxes collected by Mr. Knott over
the years.
In the evening, in a rustic amphithea-
tre surrounded by authentic prairie
schooners which actually crossed the
plains, Western entertainments are
given — the music, the costumes, the
dances are drawn from the last century.
Knott’s is also a good place to buy
gifts for the folks back home.
CATALINA ISLAND: It is still adver-
tised “In all the world, no trip like
this.” The Catalina “season” actually
starts with the Memorial Day weekend
and terminates Labor Day weekend.
During the season steamers make a
daily trip, leaving Wilmington at 10
a.m., arriving at Avalon at noon, leav-
ing at 4 p.m. and reaching Wilmington
at 6 p.m. During the non-summer
months the trip is made by motorboat.
If you don’t care to drive to Wilming-
ton, a boat train leaves the Pacific Elec-
tric Station (6th and Main Streets) at
9 a.m. and returns at 7 p.m. Round-trip
L.A. to harbor fare is $1.04. Round-trip
steamer or motorboat fare is $6.42 for
adults; children under twelve years of
age pay half fare.
If you prefer to fly, there are two
amphibious departures daily, one at
9:30 a.m. and one at 4:30 p.m. from
Long Beach Municipal Airport. Round-
trip fare is $13.16, and the flight takes
twenty minutes each way.
During 1955, for the first time in
years, most of the usual Catalina Island
activities will be continued each month
of the calendar. The glass-bottom boat
trip takes forty minutes and costs $1.50;
the mountain rim trip in open buses
takes fifty minutes and costs $1.15. The
bird farm is free and fun. And if you
love to swim, you will be able to rent
whatever equipment you need. During
the “season” months there is nightly
dancing at the Casino to the music of
name bands, and if you wish to remain
overnight on the Island, accommoda-
tions will cost from $4 to $8 for two.
For reservations and information, call
the Catalina Island Company, 5555 Hol-
lywood Boulevard, HOllywood 9-2111.
MARINELAND: This is a new fun
foundation, situated in one of the love-
liest of settings and guaranteed to be-
come more beautiful as the months go
by and the oleanders, palms, and other
vegetation flourishes. To reach Marine-
land, drive south on Pacific Coast
Highway until it turns inland, just
south of Redondo Beach; turn right
onto the Palos Verdes Estates road and
continue along the two-lane highway
which works its way around the perim-
eter of this scenic peninsula. Marine-
land lies on the southwest elevation of
the promontory, almost directly oppo-
site the usually clear outline of Cata-
lina Island.
The Oceanarium at Marineland con-
sists of two mammoth four-story ocean
tanks, 358 large underwater viewing
windows, an octopus grotto, and a coral
reef tank situated along viewing ramps.
Within the diameter of the Ocean-
arium is an open amphitheatre seating
1500 visitors who fall in love with the
porpoises as they leap for their food.
From this vantage point there is a
breath-taking view of the mountains,
the coastline, a section of ocean traffic
lanes, and the beach.
Marineland is open from 10 a.m. un-
til 5:20 p.m. during the months of brief
daylight, but during the summer it will
be open until sunset. Admission: Adults
$2.00; Juniors (13-17) $1.00; Children
(7-12) $.50. Children under seven, free.
MARINELAND RESTAURANT: In
addition to the Oceanarium, there is a
enform's Pre-lude strapless long-
line bra, embroidered cotton and gently
batiste cups. 32-38, A-B cups. $1.98. High-
waist nylon elastic girdle, side-
zipped and lightly boned
satin lastex panels. A
Traveler's treasure, washable
nylon taffeta pettiskirt. Folds compactly
in its own case, opens to a perma-
nently accordion pleated flare.
White, red, black. 10-18.
Koret of California. $8.95
For Where to Buy featured lingerie see pages 1 04 and
1 07
parvr-
Panty brief of H
' power net with
Hr satin elastic front H
Hr panel . . . “V” leg H
P' bands — never binds, ^
• pinches or cuts. Detachable
garters. Girdle to match. White
only.
Girdle or parity — Average Length
— S, FA, L — about $3.00.
Long Length— S, FA, L, XL— About $4.00.
FREEDOM BRA, White broadcloth. A-B-C- cups.
All sizes. About $1.00.
Send for your FREE copy of Lewella's Secrets
of Figure Loveliness. Write Dept. P.
LEWEL MFG. CO.
149 MADISON AVENUE, NEW YORK 16, N. Y.
beautiful restaurant which serves
luncheon daily from 11 a.m. until 3:30
p.m., serves dinner from 5 p.m. until
10:30 Sunday through Thursday, but
remains open Friday and Saturday
nights until midnight.
Prices are reasonable. Dinner for two
may be had from $3.00. Reservations
are advisable, especially on weekends —
call FRontier 7-1547.
There is also a very pleasant hotel at
Mar ineland, so motorists can spend
several days here.
DISNEYLAND: One - hundred - sixty
acres and nine million dollars worth of
pure heaven for children of all ages
will be open in July. Disneyland is sit-
uated near the city of Anaheim, just off
the Santa Ana Freeway and large signs
will make it impossible to miss.
At the entrance there will be an
American town as it looked in 1900; a
frontier town filled with cowboys and
Indians; there will be a paddle-wheeler
to take passengers along the rivers of
America; there will be Fantasy Land
with a moat-surrounded castle housing
Sleeping Beauty, Donald Duck, Pluto,
Snow White and the Seven Dwarfs and
Peter Pan’s pirate ship. At this date,
hours of operation or costs are not yet
set.
Restaurants:
To know the romance of a city or a
country, you must know its restaurants.
Good food is important, but when
traveling the good food should be en-
joyed in romantic surroundings. At-
mosphere with the antipasto, music
with the meringue glacee — such com-
binations provide memories to keep
forever.
One of the unique charms of South-
ern California restaurants is that you
may be sitting in the next banquette or
at the next table to a famous star.
(Prices do NOT include cost of al-
coholic beverages.)
Romanoff's, 140 South Rodeo Drive,
Beverly Hills, CRestview 4-2105.
Open weekdays from noon until mid-
night. Closed on Sundays. Reserva-
tions essential. Dress: your prettiest
afternoon dress or tailored suit at
luncheon; your best cocktail suit at
night. This is the most famous res-
taurant west of New York City, the
food is stupendous, and the prices
are in proportion. Plan to spend $6
for two for luncheon plus 15% tip;
$10 up for two for dinner, plus tip.
La Rue, 8633 Sunset Blvd. (on the
Sunset Strip), BRadshaw 2-2733.
Closed Mondays. Open for dinner
from 5 until midnight. One of the
colony’s favorites. $10 up for two.
Perino's, 4101 Wilshire Blvd., DUnkirk
3-1221. Wilshire District. Noon to
midnight, daily. Perino’s cuisine is
chiefly French but steaks are good!
Reservations essential. $12 up for two.
Dave Chosen's, 9039 Beverly Blvd.,
CRestview 1-2168. Closed Mondays.
Other days 6 p.m. until 1 a.m. C(>
with red leather upholstery and n-
hogany paneling, Chasen’s is alwa;
crowded, gay. A suit will take y
here at any time. Dinner for two $
and up. (Their mixed grill is tops
Sportsman's Lodge, 12833 Ventu
Blvd. (in the Valley), STanley
3035. Sundays 4 until 2 a.m., wet
days 5 p.m. until 2 a.m. One of Jo.
Crawford’s favorites when she
making a picture in the Valley. Y
may fish for your own trout if y
like to. $12 up for two.
Scandia, 9131 Sunset Blvd. (on t
Strip), BRadshaw 2-3959. Clos
Mondays. Other days noon to mi
night. Small, cozy room with fii
place — reservations essential. Cuisij
is Scandinavian. Try Kalv-filet Osks
Apful cake. Dinner for two. $13 u
Villa Nova, 9015 Sunset Blvd. (on tl
Strip), CRestview 5-9431. Daily
p.m. until 2 a.m. Specialty is Italic
food; restaurant is romantic, ini
mate. $7 up for dinner for two.
Captain's Table, 301 S. La Cienei
Blvd., BRadshaw 2-1267. Daily fro
5 p.m. until *2 a.m. Specialty: li1
Maine lobster flown in daily, all
other seafoods. Informal and charr
ing — $8 up for two.
planning a
HOLLYWOOD
HOLIDAY
You may secure free, authentic
travel information by mailing this
coupon.
photoplay travel dept.
221 N. LaSalle St., Chicago, 111.
□ Please send free travel litera-
ture about costs, routes, etc.,
right from my home city.
□ I would be interested in details
of an escorted tour to Holly-
wood.
I am planning to go to Hollywood
about
(Date)
There will be in my party.
Yourname
(Please print \
Address
Phone I
(This offer expires after Dec. 31,
1955)
Tail of the Cock. two locations : 477
S. La Cienega, BRadshaw 2-2214, and
12950 Ventura Blvd. (in the Valley),
STanley 7-1914. Both open 11:30
1a.m. to 2 a.m. daily. Southern cook-
ing and the best service in Los An-
geles. The Valley Tail of the Cock,
especially, is a favorite of picture
people. $6 up for two.
Bantam Cock, 643 N. La Cienega,
CRestview 6-8608. Daily 4 p.m. until
midnight. This intimate rendezvous
combines superior food with charm-
ing decor. $8 up for two.
The Brown Derby, five locations: The
restaurant at the corner of Crenshaw
and Stocker streets is new this year,
and it is open twenty-four hours a
day. A boon to the traveler arriving
in town at an odd hour. The original
hat-shaped Brown Derby is at 3377
Wilshire Blvd., DUnkirk 4-5151, open
8 a.m. to midnight. Hollywood
Derby, 1628 N. Vine, HOllywood 9-
5151, coffee shop open from 7 a.m.
until midnight. Main dining room,
noon until 11 p.m. Beverly Derby is
at 9357 Wilshire Blvd., Beverly Hills,
CRestview 6-2311, 11 a.m. until 10
p.m. Los Feliz Derby, 4500 Los Feliz
Blvd., NOrmandy 4-2913, coffee shop,
7 a.m. until midnight. Dining room
open noon until 10 p.m. All coffee
shops feature moderate prices, excel-
lent food. Dining room rates around
$6 up for two.
Barclay's Kitchen, 8438 West Third St.,
WEbster 7143. Open daily from 5
until midnight. This restaurant is
locked. You should have a key to ad-
mit yourself after having telephoned
for reservations. Write in advance to
secure your key. Deposit is $1. This
dining room is of modest size, but
food and beverages are out of this
world. Dinner from $6 up for two.
Cock 'n Bull, 9170 Sunset Blvd., BRad-
shaw 2-1937. Reservations essential.
Luncheon 12:30 until 2:30. Buffet
style except for salad, beverages and
dessert brought by waitress. Dinner
6:30 until 10:30, same plan. Hangout
for celebs. $4 up luncheon for two.
Dinner $7 up for two.
The Trails, 6501 S. Sepulveda Blvd.,
ORchard 1-1622. Being completely
remodeled as this is written. Tele-
phone for information about hours.
Nickodeli, 1600 N. Argyle Ave., HOlly-
wood 7-3557. Daily 10:30 a.m, until
2 a.m. Radio and studio hangout.
Reservations a must. $5 up for two.
Frascati's, two locations: 8117 Sunset
Blvd., HOllywood 5-4346 (delightful
CALENDAR OF CALIFORNIA
EVENTS
WORTH ANY CAMERA ENTHUSIAST’S ATTENTION
.JANUARY: Pasadena’s Tournament of Roses • The Rose Bowl Game
• Opening of Santa Anita Park in Arcadia — the giddyaps go! • Los An-
geles Open Golf Tournament, usually at Riviera Country Club.
FEBRUARY: National Date Festival at Indio, featuring such exotic events
as camel races, Arabian Nights Pageant, Arabian horse show, and scads of
exhibits. Everyone dresses like Aladdin or Scheherazade and hums Rimski-
Korsakov.
MARCH: National Orange Show at San Bernardino • California Inter-
national Flower Show at Hollywood Park in Inglewood.
APRIL: The Ramona Pageant at Hemet (usually the last weekend in April
and the first weekend in May) ; the life of Ramona and her ill-starred
Indian husband is re-enacted in the Helen Hunt Jackson country • The
Easter Sunrise Services.
MAY: Rancheros Visitadores Ride; only those invited may participate,
but the cavalcade can be seen at many of its encampments — one of the most
romantic of early California observances • Opening of the Hollywood
Park Racing Season.
JUNE: Beaumont Cherry Festival.
JULY: Hollywood Bowl Concerts • Laguna Art Festival (if you’ve ever
bought a picture, don’t miss this).
AUGUST: Danish Days at Solvang, which is just over the hill from Santa
Barbara • Old Spanish Days at Santa Barbara when the moon is full. This
year a pageant (budgeted at $70,000) is to be added for the first time.
Fiesta days for 1955 are August 10 through 14; there will be the usual
parades, the Spanish Fair in De la Guerra Plaza, concerts, parties, and the
Fiesta in the Santa Barbara Bowl. Everyone wears appropriate costume —
everyone has fun • Huntington Beach has an unique celebration: Twins
Day. Prizes are given to the youngest and oldest .twins present, the most
alike, the most unalike, tallest, shortest, etc.
SEPTEMBER: Los Angeles County Fair at Pomona — stupendous, colossal,
gigantic • The Fishermen’s Fiesta at San Pedro when the fishing fleet is
blessed. There is a parade of decorated boats, there are two days of nau-
tical contests, feasting, dancing, and romancing.
OCTOBER: Opening of the Palm Springs season with Western Week. The
desert season begins around October 15, ends with the Memorial Day week-
end • Anaheim’s Halloween festival in which both adults and children
mask, enter into various revelries.
NOVEMBER: All-Western Band Review at Long Beach • Western Live-
stock Show at Union Stockyards (of interest to stockmen and steak eaters)
• Los Angeles Motorama during which you can dream about a Jaguar.
DECEMBER: Santa Claus Parade down Hollywood Boulevard nightly (not
as elaborate as in the old days, but still colorful) .
99
rendezvous for those in love) ; 9501
Wilshire Blvd., Beverly Hills, CRest-
view 5-9702. (Garden dining in the
summer, otherwise interior with fire-
places.) Open 11 a.m. to 11 p.m.
daily.
The Luau, 421 N. Rodeo Dr., Beverly
Hills, BRadshaw 2-8484. 4 p.m. to 2
a.m. daily. Fine romantic spot. Food
and beverages are Island (Cantonese
cookery, rum libations) and the place
a paradise. Dinner $10 up for two.
The Beachcomber, 1727 N. McCadden
PI. (half block N. Hollywood Blvd.,
near Highland Ave.), HOllywood 9-
3968. Reservations absolutely neces-
sary. Daily, 4 p.m. until midnight.
South Seas magic, rain on the roof,
exotic food. $12 up for two.
Holiday House, 27400 Pacific Coast
Highway, Malibu, GLenwood 7-2521.
Closed Mondays. Luncheon served
from noon until 4 p.m. Dinner, 5
p.m. until 10 p.m. Reservations wise.
Dinner will be $12 up for two.
Moulin Rouge, 6230 Sunset Blvd., HOl-
lywood 9-6333. Reservations advised.
Decor attractive. Ticket costing $5.70
each entitles patron to dinner, danc-
ing and gala revue.
Mocambo, 8588 Sunset Blvd. (Sunset
Strip), BRadshaw 2-3443. One of Los
Angeles’ great night clubs, serving
good food. Reservations essential.
Dress in short cocktail gown, men
in dark suits. $15 up for two.
Ciro's, 8433 Sunset (on the Strip),
HOllywood 2-7211. Tops in atmos-
phere, entertainment and food. One
of the great night clubs. $15 up for
two. Reservations essential.
Cocoanut Grove, in the Ambassador
Hotel, 3400 Wilshire Blvd., DUnkirk
7-7011. World famous nitery. Tues-
day is Hawaiian night. Reservations
always advisable. $15 up for two.
Gotham, 7050 Hollywood Blvd., HOlly-
wood 9-1438. Daily 10 a.m. until 2
a.m. Typical delicatessen. The
younger film crowd (Calhouns, Madi-
sons, etc.) like to drop in late. $3
for two will do it.
Barney's Beanery, 8447 Santa Monica
Blvd., HOllywood 4-9988. Daily 5
p.m. until about 5 a.m. Legend has it
that if you sit in Barney’s long
enough, you’ll see all of Hollywood.
The Patio, 3077 Wilshire Blvd. (oppo-
site Bullock’s Wilshire), DUnkirk
2-9474. Hamburger is 75tf, ham sand-
wich $1. Cafe Melange 35tf. Unpre-
tentious, but not to be missed. Open
11 a.m. until 4 p.m. only.
For where to buy, write:
HUSSC0 SHOE CO., Honesdato, Pa.
Canada: Canada West Shoe Co., Winnipeg
-fkskiQS
For
Summer
These soft little true
mocs will take you
everywhere— from barbecue
to beach party! In bright,
wonderful colors.
CHECK
CHART
These are the sights you should se
in order to consider yourself a succes
ful visitor in Southern California:
/ A motion-picture studio
(Best managed by taking a. Tanner Gra
Line Tour.)
/ A radio or television broadcast
(Send for tickets to your favorite show <
least two months in advance of your visit
if one show is as good as another to yoi
apply at the information desk of the var
ous studios when you arrive.)
I / The Huntington Library in
San Marino
( Closed during the month 1 of Octobe
Open every day except Monday.)
/ Forest Lawn Memorial Park at
Glendale
(Tanner Gray Line Tour is exceller
method of seeing the treasures in thi
Park.)
V' Several of the Missions:
In, around, and near Los Angeles are th
San Gabriel Mission, San Fernando Mi'
sion, San Juan Capistrano Mission, Rivei
side Mission, Ventura Mission, Santa Bai
bara Mission.
S The Farmers Market
/ Olvera Street
V China Town
/ Hollywood Bowl
/ The Rose Bowl in Pasadena
Wilshire Boulevard
from its birth at Grand Avenue to its tei
minus at the sea.
/ The Sunset Strip
from Schwab’s to the beginning of tb
bridle path.
/ Grauman’s Chinese Theatre
/ Pasadena Community Playhouse
^Knott’s Berry Farm
• fl
V Marine Land
at Palos Verdes and the glass church a
Portuguese Bend.
I / Disneyland
/ Catalina Island
100
'here to Stay
Listed here are the glamorous, the
mantic hotels; the wise traveler will
re in one, visit the others, many of
liich boast fascinating restaurants
id shops. Reservations essential.
EW AND DIVERTING
verly Hilton opening in July, located
in W'ilshire Blvd.-Santa Monica Blvd.
triangle, Beverly Hills — Trader Vic’s
a hi-lite, plus shops, pool — $15. per
couple, up, up.
atler, Figueroa, 7th & Wilshire,
MAdison 9-4321, $10. for 2. up; mod-
ern decor, downtown location, Cafe
Rouge and Terrace Room popular.
Karan, 7212 Sunset Blvd. HOllywood
1-9246, near Grauman’s Chinese.
Heated pool, modern decor, conti-
nental breakfast. $7. up.
'ott House, 5547 W. Century Blvd.
ORchard 2-9141, double $10. up.
Cattycornered (NE) from Int. Air-
port, this is spanking new, paint
fresh. Owned by Ginny Sims’ “Ex,”
it is first of chain of airport hotel-
restaurants. All rooms have lanai.
neyland — Hotel planned; may not
be ready until fall of 1955.
IE STANDBYS:
ibassador, 3400 Wilshire Blvd. Dun-
kirk 7-7011; $15. double, up. Home
)f Cocoanut Grove and scene of great
events. Pool, tennis courts, pitch &
put course, movie theatre, Dalzell
datfield art gallery, shops,
lapman Park, 615 S. Alexandria,
DUnkirk 4-1181; $12. up double.
Opposite Ambassador in heart of
Vilshire district. Pool, tennis,
lylord, 3355 Wilshire Blvd., DUn-
cirk 9-4161; $10. double, up. Next
Brown Derby, opp. Ambassador. Big
ind convenient.
vn House, 2961 Wilshire Blvd. DUn-
cirk 2-7171 ; $15. double, up. Very
;hic; near Bullock’s Wilshire and
mart restaurants. Pool.
(B more, 5th St. at Olive — downtown,
I Michigan 1011; $10. double. Great
Commercial — Biltmore Bowl and
lendezvous Room and Theatre.
HOLLYWOOD:
>sevelt, 7000 Hollywood Blvd. HOlly-
I pood 9-2442; $10. double, up. Gasp
I way from Grauman’s Chinese and
I. folly Paramount where great pre-
k lieres are held. “Islander” is gay
I Iawaiian nightspot. Shops.
p:kerbocker, 1714 Ivar Avenue, HOl-
I /wood 5-3171 ; $8. double, up. 2
» locks from Holly-Pantages, 2 from
f bown Derby-Vine.
■I[a, 1637 N. Vine St., HOllywood 5-
L 131; $8. double, up. Opp. Holly
p Irown Derby; block from NBC, 2
[ Irom CBS, also near studios,
i^ke, 6724 Hollywood Blvd., HOlly-
l iood 9-2241; $5 double, up. Small
I
hotel on “the boulevard” — conven-
ient lodgings, near everything.
Hollywood Hotel, 5811 Hollywood Blvd.
HOllywood 3-4181. $6. double, up.
Historians and traditionalists love
this one — all bound with Hollywood
heartstrings.
BEVERLY HILLS AREA:
Garden of Allah, 8152 Sunset Blvd.
HOllywood 9-3581 ; $8 rooms, $16
cottages. Set in garden around pool
— charming. Schwab’s 1 block away.
Beverly Hills Hotel, 9641 Sunset Blvd.
BH, CRestview 6-2251; $20 double,
up — reserved well in advance. Ren-
dezvous of world famous. Very chic.
Beverly Wilshire, 9514 Wilshire Blvd.
BH, CRestview 5-4282; $16 double,
up. Opp. Beverly Hills, Brown Derby,
Frascati’s; within walking distance
of world’s most glamorous shops.
Pool, cabanas, tennis courts.
GIFT SHOPPING
Come to Hollywood with empty lug-
gage; take home your trip in tangible
form to remember each time you wear
a California garment or glance at a
home memento. Listed below are shops
of particular interest:
Farmers Market. 3rd & Fairfax.
World’s wares in a city block —
everything from Guatemalan hand-
loomed skirts to Philippine lace. An-
tique china beside free form jewelry,
Brazilian leather & Mexican silver.
Have luncheon, progressive style.
Patsy Brogan, 444 N. Camden Dr. BH.
CRestview 5-7126, sells couturiere
garments at trifling sums; stock sup-
plied by picture stars who can’t be
seen in same garment more than two
or three times at most; star’s receipts
all go to charity.
Dear John, 459 N. Canon Dr. BH. See
it to believe it: gadgets for your pow-
der room, gifts for your gayest
friend with a sense of the absurd.
Artificial Flower Studio, 678^2 S. Ver-
mont Ave. DUnkirk 8-2653; roses
smellable in their fake perfection.
Lilacs, poppies, tropical leaves — des-
ert foliage at sensible prices.
Bullock's Wilshire, 3050 Wilshire Blvd.
DUnkirk 2-6161 — One of the most
beautiful women’s specialty shops
(men’s department, too) in U. S.
Matthews, 9669 Wilshire Blvd., Bev-
erly Hills. BRadshaw 2-6655 — Where
stars buy sports clothing. Sharp,
smart, expensive and worth it.
Patio Shop, 321 N. Beverly Dr., Beverly
Hills. CRestview 1-5271 — unique
lamps, bric-a-brac — visit it for thrills.
( Rock Hudson is in “Captain Lightfoot” and
“Giant, ” Ann Blyth in “ The King’s Thief,” Lori
Nelson in “Ma and Pa Kettle at Waikiki” and
“Underwater!” , Tab Hunter in “The Sea Chase,”
Mitzi Gaynor in “ Anything Goes,” Jane Powell in
“Hit the Deck,” Robert Francis in “The Long Gray
Line” and “White Feather,” May Wynn in “The
Violent Men,” and Jeff Richards in “The
Marauders ”)
Marvel at these expensive looking,
lustrously lovely, rhinestone -clasped
simulated Duchess Pearls. ..with
an elegant Lustre-Dip glow, exclus-
ively our secret. Many beautiful
necklaces to choose from — at
your favorite store for only
$1 each, plus tax. Available in
both regular and pink pearls.
H & S ORIGINALS, INC., 48 WEST 37 ST., N. Y.
The End
101
inside:
UFF
( Continued from page 39)
teaching Mitzi how to cook her steak and
be able to eat it, too.
Sav It Isn’t So: That ever since he made
“Country Girl,” Bing Crosby’s been bitten
by the “acting” bug and is searching for
new dramatic fields to conquer . . . That
Edmund Purdom’s so weary from over-
work and so unnerved by his personal
life problems, he’s reached the point of
throwing things on the set . . . That the
marital troubles between June Allyson
and Dick Powell could be traced to the
presence of his high-spirited teenage
daughter Ellen (her mother is Joan Blon-
dell) who now makes her home with them
. . . That talented Grace Kelly who’s
never aspired to becoming a cheesecake
queen, may sue the parties responsible
for putting her head on a curvaceous body.
Object: “Green Fire” advertising! . . That
Michael Wilding obtained his release from
his M-G-M contract because he felt he was
“Elizabeth Taylor’s husband” on that lot
Younq At Heart: Debbie Reynolds was
still in New York visiting Eddie Fisher
when Lori Nelson called her from Holly-
wood and introduced Robert Francis over
the telephone. Bob was flying East for
personal appearances and Lori didn’t want
her new boy friend to get lonely in the
big city! • And reporters flipped when
Terry Moore leased a cottage for two for
Jack Sernas. It will be occupied by the
handsome Frenchman, who returned to
Europe to bring his mother back to this
country . . . Rusty Tamblyn carries Luana
Lee’s scripts instead of her school books
these days. She’s a beautiful studio mes-
senger girl now enrolled in M-G-M’s dra-
matic classes. Object: eventual stardom.
Father’s Do’e: The day before Charlton
Heston’s wife gave birth to a 7 pound
14 ounce boy (they named him Fraser
which is Chuck’s Scottish family clan
name), Chuck was so nervous on “The
Private War of Major Benson” set, he
wasn’t aware he had his boots on the
wrong feet! . . . And anxious Jose Ferrer
took several runs to St. John’s Hospital
before Rosemary Clooney presented him
with a son and heir they named Miguel
Jose . . . But fatherhood’s no novelty to
Robert Cummings who welcomed his
fourth child and third daughter.
Funnies: Jeff Hunter to Dan Dailey: “How
come you and Gwen O’Connor got mar-
ried when you fight all the time?” Dan
back to Jeff: “All our fights were about
the same thing. Should we get married!”
. . . Robert Mitchum to Jane Russell: “Tell
me, how did you like Europe?” Jane back
to Bob: “I’m glad it’s over there!” . . .
And then there’s that woman who wrote
to Liberace about his highly publicized
“romance” with Sonja Henie: “I’m much
better for you than Sonja. At least I have
piano legs!”
Personal Piffle: Richard Widmark is a
handy man who just designed and built
his own furniture for that new room in
his Mandeville Canyon home . . . Rory
Calhoun calls Jeff Candler “Big Grey” and
Jeff calls Rory “Old Smoke” . . . Debra
Paget and her sister attending a Beverly
Hills church each Sunday, dress like
they’re going to a cocktail party later! . . .
And Doris Day finally asked for her first
P autographed photograph. She couldn’t
have picked a worthier subject — Jimmy
Cagney!
102
Lodies In Waiting: Susan Hayward broke
right out in front of everyone on the “Sol-
dier of Fortune” set and planted a big
birthday buss on Clark Gable. But not a
single news hound found out that Grace
Kelly gifted the King with a real live
miniature burro for his ranch. While she
was in Hollywood long enough to turn
down her next picture, Grace called Clark
constantly. And sometimes the calls came
in when Kay Williams Spreckels was sit-
ting a few feet away with an amused smile
on her beautiful face!
Our Town: Ever since he hit Hollywood
again, perfectionist Marlon Brando has
been rehearsing like a demon for his songs
and dances for “Guys and Dolls.” Finally
one hostess did manage to snare him for a
Saturday night party. Marlon worked late
and was the last to arrive. The room was
filled with aspiring young actors — all try-
ing to look like you-know-who in leather
jackets and dungarees. The original one
and only walked in wearing a white shirt,
black tie and a beautiful charcoal gray
suit!
A La Carte: Jeff Richards passing by
Louis Calhern’s table in the M-G-M com-
missary, exclaimed: “You’re my favorite
actor!” With that inimitable twinkle, Cal-
hern countered: “Mine, too!”
Town Talk: Cal caught up with Tony Cur-
tis. who was on the set making “The Raw-
hide Years.” “Jan gained five pounds,” he
greeted us joyously. “Every time she gains
a pound she gets a gift, so that makes
five gold trinkets for her charm bracelet!”
Does this sound like a man in love with
his wife?
Sexy Santa: There may not be anything
serious between Rock Hudson and secre-
tary Phyllis Gates, but the big bov gets
very serious when he picks out gifts for
her. Rock recently devoted an entire day
to personally selecting a complete outfit
for Phyllis. It included gloves, shoes,
handbag and perfume to go with a coat
and dress. Then as an extra gift he threw
in — a set of pink and white candy stripe
sheets and pillow slips. No wonder every
glamour puss wants Rock for a husband.
“They don’t hardly make them that way
no more!”
Peaks At Production: After her experi-
ence at Paramount, Pat Crowley refused
that U-I contract. But they needed her
so badly for “There’s Always Tomorrow,”
she got the role anyway . . . Paging Holly-
wood’s number-one miracle man! For
their roles in “Giant,” Elizabeth Taylor
ages from 21 to 45 and Rock Hudson from
27 to 50! . . . And here’s a bit of irony.
Stewart Granger over in India is helping
Ava Gardner acquire a British accent for
“Bhowani Junction.” But back in Holly-
wood, Jean Simmons Granger is trying to
lose her British accent for “Guys and
Dolls!” . . . The old gang ganged up on
John Derek who was once a stock actor
at 20th. When he went back to make “The
Prince of Players,” the sign on his dress-
ing room door read “Derek Harris” — his
real name and the one John used to use!
As We Go to Press: The Jack Webbs
celebrated one month of marriage with
their first “lovers’ quarrel.” She went
home to mama, “But I’ve been working
ve’-v hard and we got to snapping at each
other,” says Sergeant Friday. “There’s
nothing to it.” Da da dum dum! . . . Joan
Evans and Kirky Weatherly are going to
be happier (if possible!) when their 1st
wee one arrives next September . . . yl
that blessed event for Aldo Ray and ,fl
Donnell could be a double productio-
twins to you! . . . And to you from the frit
office at M-G-M: “Eleanor Parker’s b -
liant performance in ‘Interrupted Melcy1
has lessened enthusiasm for Grace Kel
. . Since breaking his arm skiing at fn
Valley, Dick Powell is even closer tin
ever to June Allyson . . . But Edrmd
Purdom’s one-man holocaust for Lii a
Christian is becoming a feeble flame— ;d
his studio couldn’t be more relieved to e
it dying!
Cal Salutes: William Holden whose ijj
emplary family life is worth many n -
lions to Hollywood. Recently all the B -
dens appeared on Edward R. Murro's
“Person to Person” tv show. For id
days fifty men were in and out movg
furniture, setting up four cameras ;d
wiring the Holden house for sound. Ill
served them 250 sandwiches and endhs
gallons of coffee. After the telecast e
opened up his bar for the men and win
he talked to Mr. Murrow in New Yc:
Bill told him how painless it all had bin
because of his great crew. Those headl e
hunters who give the town a black ic
should observe Bill Holden and learn h\
a real star operates.
Oo+iroistic Type: Looks like Marilyn M( -
roe’s buying a permanent residence r
Connecticut and with Joe DiMaegio bill
there to help her select the right pl:5
draw your own conclusions Speaking >1
the blond bombshell, remember Cal tc
you she’d formed her own “Mari r
Monroe Productions, Inc.” and dismiss
her agents at the same time. She sc
sent all parties concerned a wire cl
wished them — a Happy New Year!
Citv Slickers: When Debbie Revnolds v-
ited Eddie Fisher recently, she fell in he
with New York. “After we’re marrie’
she confesses, “I’d love to live in the E 1
when I’m not working.” Bet M-G-M \ ,
love that! . . And when Janet Leigh t:
Tony Curtis blew into the big city <
meet the press, they held quiet conferen :
with important playwrights. The popr i
pair are just panting to face a live au ■
ence in a good comedy . . Tab Hum
had an odd experience during his bi 1
stooover in New York en route to Euro:
Someone swiped Tabbie’s long underwu
(used for ice skating) out of his he
room. He just hopes it fits!
Funnies- In surgery for two hours for ■
moval of a kidney stone, Bing CrosJ
came through like a block-buster and E:
Hope cracked: “Wouldn’t you know the 1
find uranium in Bing’s kidney stone!” .i
After waiting a year (on salary) She :
North finally replaced Marilyn Monr
scheduled for “Pink Tights” and “H >
to Be Very, Very Popular.” Hearing |
news, sizzling Sheree cracked: “If I ve
married now, with my luck, I’d probal1
be pregnant!” . . . And some sentimen 1
soul ( ? ) dedicated a song to Ava Gardn
entitled: “Barefoot Contessa, Where A
Your Shoes!”
J
Wee Ones: Because her baby had to \
born by Caesarean section and she cou
name the date, Elizabeth Taylor switch!
the day to February 27th and on her o '
twenty-third birthday, Liz gave birth :
a 5 pound 12 ounce boy, whom the Wr-
ings have named Christopher Edward.
Each time you wash your face . . .
your skin dies a little
There are 1- to 3-hour periods each
day, dermatologists say, when your
skin cannot defend itself against these
dreaded complexion problems:
A shriveled look . . . cracking . . .
large pores . . . coarseness.
The vulnerable periods begin the
moment after you have washed your
face. When you wash away dirt, you
also remove the skin’s natural pro-
tectors. Nature takes 1 to 3 hours to
restore these vital protectors. During
these hours of "un-balance” — your
defenseless skin "dies” a little.
After each washing —
"re-balance” your skin
'From your teens through the "maturing
[years,” your skin is open to this problem
of "un-balance” after washing.
A shiny, "skinned” look ... a taut feel
j Flaky roughness . . . blotchy color
Don’t ignore these small warnings — for
in the 1 to 3 hours Nature takes to re-
protect skin, much worse problems often
begin. Inside moisture evaporates, skin
"shrivels.” Dry lines deepen. Secretions
harden in pore-openings — cause large
pores, blackheads.
I Should you stop washing your face?
"No,” skin doctors say, "but always 're-
balance’ your skin at once after washing.”
Don’t leave your skin un-protected an
instant! Follow each face washing with a
light touch of Pond’s Cold Cream. This
swift-acting cream "re-balances” your
skin in 1 minute — at least 60 times faster
than Nature does. It promptly combats
dryness. Keeps pore-openings cleared,
keeps skin texture fine and smooth.
A vitalizing clearing at bedtime
Besides "re-balancings” after each wash-
ing, your skin needs a thorough clearing at
night. Pond’s Cold Cream dislodges waler-
[resistant dirt from the pores. Keeps your
jskin radiant. Today begin this complete
beauty care with Pond’s Cold Cream.
Soon, it will be such a satisfying habit,
you will want to keep it — and your lovely
l"new” complexion, always.
Most famous beauty formula in the
world — never duplicated, never equalled.
More women use and love Pond's Cold Cream
than any other face cream ever made.
'/mt
A recent camera study of the charming
Mrs. du Pont, on the sweeping lawns of
Ridgely, the du Pont country house out-
side Wilmington. Mrs. du Pont is known
for her animated, champagne-toned
beauty . . . her clear, clear complexion.
Since her debutante days, she has been a
devoted user of Pond’s. She finds quick
daytime "re-balancings” after washing
and a thorough clearing with Pond’s
Cold Cream each night the simplest, yet
most effective skin care. " Nothing clears
and smooths my skin like Pond’s Cold
Cream,” Mrs. du Pont says.
HOLLYWOOD HOLIDAY
PHOTOPLAY TRAVEL FASHIONS
PHOTOPLAY’S BUYING GUIDI
" Where-to-Buy" the Hollywood Holiday fashions shown
in this issue. Each manufacturer is identified with a code
number as listed below. Use that number to check stores
who have fashions in your city.
MANUFACTURER CODE NUMBER
Ballet Hosiery* 1
Catalina Swimsuits 2
Clifton Handbags*.. 3
Formfit* 4
Grace Walker Shoes 5
H. &. S. Jewelry 6
Handler of California 7
Hussco Shoes 8
Ilene Ricky Sportswear 9
Justin McCarty 10
Lewella 11
Maidenform* 12
Meeker Bags 13
Playtex Swimcaps* 14
Playtex Bras & Girdles 15
Rose Marie Reid* 16
Samsonite 17
Sea Fashions 18
Sea Nymph 19
Spray Net (by Helene Curtis) 20
*At fine stores Coast-to-Coast
ALABAMA
Birmingham — Southern Shoe 5
Hick’s Bootery 5
Maurice's 9
Birmingham Trunk 13
Decatur— Shenon’s Burnett Jewelry 13
Dothan — Kraselsky’s 9
Geneva — C. D. Chapman 10
Mobile — Gerhardt’s 13
Scottsboro — Children’s Shop 10
ARIZONA
Phoenix — Harry Stone 5
Tucson — May’s 18-20
ARKANSAS
Hot Springs — Hollywood Dress Shop 10
Little Rock — M. M. Cohn 10
Watson Fashion 10
Thomas' 10
Cutter-Karcher 5
Van Buren— Hays & Graham 10
CALIFORNIA
Hollywood — Frederick’s 18
Long Beach— Paris Shop 18
Shaulis Jewelers 13
Bullock’s 2-11
Alan’s Shoes 5
Los Angeles— May Co. 2-6-7-11-15-17-20
Broadway Dept. Store 2-6-11-20
Fashionwear Shop 18
Horn’s 18
C. A. Hamm 13
Waxman’s 5
Sacramento — Halle’s 8-20
Lee’s Luggage 13
Tallac Bootery 5
San Francisco —
The Emporium 2-11-15-19-20
The White House 15-18-20
Steinberg & Sons 5
Stockton— The Sterling Co. 10
COLORADO
Denver— Denver D. G. 8-13-17-20
Altman's 9
May Co. 2-7-11-15-17-20
Greeley — Dodd’s 9
CONNECTICUT
Ansonia — Weitz Co. 9
Bridgeport — Howland D. G. 11-20
Hartford— G. Fox 2-7-8-11-15-20
Ronett’s 9
Stamford — Jill Fashions 9
DISTRICT OF COLUMBIA
Washington— Hecht’s 2-6-15-19-20
Urdong’s 9
FLORI DA
Daytona Beach 5
Hollywood Lebo’s 10
Miami— Burdine’s 2-6-1 1-15-19-20
Carl's 13
Miracle Shoe Corp. 5
Tampa — Ritz Shoe 5
Winter Haven — Kathryn’s 10
GEORGIA
p Albany— Town & Country 10
Atlanta — Davidson-Paxon 2- 1 1-15-17-20
Rich's 2-6-11-17-20
Morris Luggage 17
David’s Bootery 5
Columbus — Patricia Gown Shop 10
104
ILLINOIS
Chicago — Marshall Field 2-8-18-20
Carson, Pirie Scott 2-11-15-19-20
Weiboldt’s 7-15-18
Ace Trunk Co. 13
Goldblatt’s 5
Seder’s 9
Elgin — C. Bloemke 13
Oak Lawn— Alice’s 10
Peoria— Block & Kuhl 6-11-15-17-20
P. A. Bergner & Co. 13
Lynn’s 10
INDIANA
Evansville — Salm’s 9
Evansville Luggage 13
Fort Wayne — Wolf &Dessauer 2-1 1-15-20
Frank D. G. 13
Indianapolis — L. S. Ayres 2-5-6-11-20
South Bend— Robertson’s 11
Worth’s 9
Jacob’s Jewelry 13
Baldwin Shoe 5
Terre Haute — Meis Bros. 11
Levinson’s 9
Berkowitz’s 13
Vanity Shoes 5
IOWA
Cedar Rapids — Newman’s 13
Des Moines — Younker Bros. 2-7-11-15-
17-20
Haddon’s 17
Iowa City— Richey’s 10
Sioux City — Younker-Davidson 11-15-20
Master Luggage 13
KANSAS
Independence — Halsey Bros. 10
Leavenworth — Carolyn Kihm 10
Salina— Stiefel Stores 9
Topeka — Topeka Leather 13
Wichita — Woods 13
KENTUCKY
Lexington — Jewel Box 17
Louisville — Levy Bros. 17-20
Bon-Ton 1 1
Stewart D. G. 17
Silverman’s 5
Owensboro — Salm’s 9
Paducah — Salm’s 9
LOUISIANA
Alexandria— Wellman’s 10
Baton Rouge — Dalton’s 15-17
Monroe — Masur’s 10
New Orleans — Maison Blanche 2-13-15-
17-20
D. H. Holmes 17-20
Krauss Co. 17
Joy’s 5
Shreveport — Palais Royal 9-20
Sue Peyton 10
MAINE
Augusta— D. W. Adams 13
Bangor— The Rines Co. 13
Lewiston — Fogg’s Leather
MARYLAND
Baltimore — Hochschild Kohn’s 2-6-19-
MASSACHUSETTS
Boston— R. H. White 8-20
Filene’s 2-6-8-11-18-19-20
Leed’s 9
Jordan Marsh 2-6-11-15-18-20
Lynn— Goddard’s 11
MICHIGAN
Adrian— Berndt’s 13
Maurice’s 9
Detroit— J. L. Hudson 2-8-15-17-19-20
Kline’s 19
Crowley Milner 5-15-17-20
Federal D. S. 17
Winkleman’s 18-20
Town & Casual 10
Sams 18
Theisen’s 13
Nat Greene 10
Grand Rapids — Moderne Shop 10
Kalamazoo — Gilmor Bros. 11
The Leather Shop 13
Aunt Katie Shop 10
Lansing— Maurice’s 9
Knapp’s 13
Lincoln Park — Fisher’s 9
Saginaw— Dodd’s 5
Brandle’s 18
Morley’s 13
MINNESOTA
Duluth — Glass-Block 17
Heinzen’s 13
Minneapolis — Powers D. *G. 17
Dayton Co. 2-6-7-11-15-17-18-20
Donaldson’s 7-11-15-17-20
Fallon’s 13
Kassler Co. 5
St. Paul— Field Schlick 19
Haddon’s 17
The Emporium 11-13-15-17-20
Golden Rule 6-11-20
Schuneman’s 11-15-20
Bishop’s 10
MISSISSIPPI
Brookhaven — Debuteen Shop 10
Jackson — Boston Store 5
Natchez— Roslyn’s 10
MISSOURI
Clayton— Ziock’s 9
Independence — Moore’s 10
Kansas City — Rosalie’s 9
Kline’s 17
J. H. Mace 13
Gailbraith’s 10
St. Joseph— The Paris 9
B. H. Rhodes 10
St. Louis — Stix, Baer & Fuller 2-6-11-
17-19-20
Anatel’s 9
Famous-Barr 2-17-20
Scruggs Vandervoort Barney 6-7-15-
17-20
Milton Mandel 5
Springfield— The Paris 9
F. A. Powell’S 13
NEBRASKA
Lincoln— Gold & Co. 5-13
Omaha— Thomas Kilpatrick’s 15-17
Borsheim’s 17
J. C. Penney 6-17-20
NEW JERSEY
Atlantic City— Nat’l Dry Goods 11-15
Elizabeth— Levy’s 6-8-15-20
Newark— Bamberger’s 2-11-15-20
Ridgewood — Sealfon’s 9
NEW YORK
Albany— Magin’s Leather 13
M. Whitney 11-15
G. G. Myers 19
Solomon Furs 10
Brooklyn— Abraham & Straus 2-6-8-1 1-15
19-20
Bleecker’s 5
Buffalo— J. N. Adams 6-15-19-20
Hens & Kelly 6-11
J. A. Baker 18
Sattler’s 13-15-20
Slotkin’s 10
R. Kimaid 5
Jamaica— Gertz 2-6-8-15-20
New York City — Arnold Constable 7-8-
15-19-20
Russek’s 19
Macv’s 2-7-15-19
Leed’s Luggage 13
Gimbel’s 7
Bloomingdale’s 11-15-18-20
Hearn’s 18
Stern’s 2-7-15-18-20
Saks 34th Street 2-15-18-19-20
Rochester — Krolls 9
Sibley, Lindsay & Curr 11-20
B. Forman 6-10-20
Genesee Bootery 5
Syracuse — Chappell’s 19
Fleischer’s 9
E. W. Edward’s 11-20
Blanche Le Clair 10
White Plains— Phyllis Jane 9
NORTH CAROLINA
Durham — Annie Lee Shop 10
Winston-Salem— Anchor Co. 11
NORTH DAKOTA
Fargo— Herbst 17
Monson Trunk 13
OHIO
Akron — Polsky’s 2-11-15-20
Schaffer Leather 13
Carter-Lee 5
Cincinnati — Shill ito’s 7-11-13-15-17-19-
20
Mabley & Carew 17-20
J. Fanger 5
Lepof’s 9
Cleveland— Higbee’s 2-6-7-11-15-20 I
May Co. 19-20
Wm. Taylor Co. 11-20
Halle’s 5-11-20
Columbus— Boston Store 18-20
F. & R. Lazarus 2-1 1-13-17-18-20|
The Union Co. 17
Morehouse Fashion 6-11-17-20
Robert’s 9
Dayton— Rike-Kumler 6-7-15-18-20 1
Springfield— Wm. McCulloch 17
Toledo— LaSalle & Koch 2-17-20
Tiedtke’s 18
OKLAHOMA
Oklahoma City— Halliburton’s 11-15-1
20
J. A. Brown 2-17
Nissen’s 9
Kerr’s 11
French Style Shop 10
Jerry’s 5
Ponca City — Laddies 9
Edward's 10
Tulsa — Froug's 6-17
Vanderveer’s 11-20
Rex’s 10
OREGON
Eugene — Town & Travel 10
Portland— Olds & King 10-20
Hollywood Shoe 5
Salem — Little French Shop 10
Dana’s 5
Springfield — Towne Shoppe 10
Alexander’s 5
PENNSYLVANIA
Allentown— Hess Bros. 2-11
Ambridge — Ambee Shoppe 9
Hanover — Lobell’s 9
Norristown — Novell’s 9
Philadelphia^-Lit’s 2-8-18-19-20
Snellenberg’s 2-8-20
Wanamaker’s 2-8-20
Chas. David 9
Strawbridge & Clothier 2-7-1 1-1 5-:
Blauner’s 6-18
Baker’s Shoes 5
Gimbel’s 2-6-7
Pittsburgh — Kaufman's 7-8-15-19-20
Wm. Friedland 9
Horne’s 2-11-18-20
Gimbel’s 2-7
Pottstown — Kesller’s 9
Reading — Kins 9
Scranton — Cleland-Simpson 11
Scranton D. G. 6-8
Washington— Lang’s 9
TENNESSEE
Knoxville — St. George Co. 11
Memphis— Goldsmith’s 2-6-11-17-20
Lowenstein’s 2-17
Bry’s 11
Nashville — Baker-Anderson 5
Family Bootery 5
TEXAS
Dallas — Culwell’s 5
Titche-Goettinger 15-19-20
A. Harris 2-17-20
Kessels 17
Sanger Bros. 2-11-20
Fort Worth— W. C. Stripling 17
Leonard’s 11-17
Goldstein Bros. 17
Monnig’s 6-11-20
Mitchell’s Inc. 5
Houston — Foley’s 2-6-1 1-15-17-18-19-'
Palais Royal 6-7-9-20
Town & Country 10
Robinson's 5
San Antonio — Joske’s 2- 10- 1 1- 17- 19-:
Paul & Jack 5
Kaufman’s 17-20
Wolff & Marx 17
Terry Farris 17
UTAH
Salt Lake City— Z.C.M.I. 11-15-17-20
J. C. Penney 6-17
Auerbach’s 6-11
Jarnel’s 18
Shoe Box 5
VERMONT
Burlington— Mayfair 9
VIRGINIA ’
Norfolk — Montaga’s Shoes 5
Richmond— Thalhimer’s 2-6- 1 1 -15-18-:
Roanoke — N. W. Pugh 10
WASHINGTON
Portland — Meier & Frank 8-15-20
Fred Meyer 1 1
Seattle — Rhode’s 17
Tails Travel 17
Ben Tipp 17
Chapman’s 5
Spokane — Meier & Frank 11-20
Spokane D. G. 5
Tacoma— Schoenfeld’s 17
Peoples Store 6-17
Ostlund’s 5
WEST VIRGINIA
Charleston— Siegel Shoe Co. 5
WISCONSIN
Ashland — Moran Mode 10
Janesville — Golden Eagle 9
La Crosse — Lorraine’s 10
Klinkner & Jensen 5
Madison — Ragatz Bros. 5
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105
Pixie from Paris
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( Continued from page 64)
She does not like drive-in movies and
drive-in restaurants. She is an incurable
ash-tray stealer. Her favorite picture is
“Lili.”
She dotes on desserts and does not think
that happiness is a matter of money. She
smokes about ten cigarettes a day.
She was born in a three-story house
that her grandparents had built outside
of Paris, at Neuilly; as a child she used
to rollerskate on its paved roof.
She hates oysters, clams or any kind of
raw sea food.
She is an excellent listener when it is
rewarding, but when it is dull she cannot
repress her boredom. She is right-handed,
five feet three and one half inches tall.
She is very fond of snails: “Mmm, yes.
You mean Escargots a la Bourguignonne?
Wonderful!”
She is very nostalgic for Paris.
She started studying dancing at the age
of ten, and her mother’s pet names for her
were either Minnie Mouse or Betty Boops.
She is very fond of flowers and likes them
everywhere.
She wore dental braces as a child. “I
went to the dentist once every single
week.”
She is not orderly or systematic.
She has no allergy and has never seen a
boxing or wrestling match: “But recently
I went to a motorcycle race and I was
quite overcome by the spectacle. The
public watching it seemed to me more pro-
fessional than the people on the motor-
cycles. They wore leather jackets, brought
leather seats to sit on — ladies as well as
men — and they looked tougher than the
racers. When the races were over, they
all got on their own machines and rode
away. It was the strangest sight; very
different from a ballet or movie audience,
though perhaps only because they were
all sun-tanned and wind-burned and all
seemingly clad in leather.”
She has a better memory for faces than
names.
She loves having breakfast in bed:
“But I don’t get a chance to any more.”
Her father is a manufacturing chemist and
once had a pharmacy in Paris.
Her joy about appearing in 20th Cen-
tury-Fox’s “Daddy Long Legs” is because
at long last she dances with Fred Astaire.
She likes hot dogs and would like some,
day to play St. Joan.
She wishes she could go dancing in night
clubs “like other people,” but her strenu-
ous schedule precludes it. She cares little
for sport clothes and she studied ballet
for two years at the National Conservatory
of France, where Roland Petit discovered
her and immediately placed her in profes-
sional ballet.
She dislikes golf. “It is for poops.”
She values most in people their enthusi-
asm and honesty, and ever since she was
a child, she has wished she could ride a
horse.
She believes in luck.
Her hobby is painting imaginary por-
traits.
She has no superstitions.
Her parents now live in the Virgin
Islands. Her biggest thrill came on her
nineteenth birthday, her first in the United
States. Gene Kelly had heard of it on
the set and invited her to his home that
evening: “When I came in I saw about
thirty of the most important people in
Hollywood, singing happy birthday to me.
I could have cried.”
Leslie Caron is sick of playing the
perennial waif. “Enough is enough.”
She enjoys Western films now much more
than she did as a child: “As a child I was
very high-brow. I couldn’t stand all th;
shooting and riding. Now I love them
She sleeps at least nine hours every nigh
She abhors the color green.
She had all the usual childhood ill
nesses.
She likes wine with dinner and the acto -
and actresses she admires particular tj
are Anna Magnani, Marlon Brando, Juo
Garland, Gerard Philipe and Lauren (
Olivier.
Her apartment is furnished with antiqi
furniture. Her favorite ballet is “Tf
Sphinx” and whenever she travels she
an inveterate tourist, doing everythin
that tourists do.
She was born in Paris on July 1, 1932.
She is bad at business matters.
She loves to bake chocolate mocha caki
often goes barefooted in the privacy of h<
apartment and has a great longing to sc
Italy someday. She gets restless whc
loafing.
Her voice is best described as contralt i
and when she was a little girl she preferrc
boys to girls: “I had a rather seclude
childhood due to my dancing lessons, bi
whenever I played it was always with boj
rather than girls. I was a tomboy. I didn
like girls. I followed my brother arounj
and when you saw a gang of boys in tt
street playing marbles, playing war, rolle
skating, anything — I was the only girl i
the crowd.”
She cannot abide electric guitars < :
electric organs.
She places no credence in fortune-telleii:
or astrology: “. . . but they amuse me.” SI
is very proud of a great-grandfather wh:
was once a famous mayor of Paris.
She wants someday to be fluent in Italian
and she has no prejudices about a manii
attire: “It depends on the man that’s weai 1
ing it, rather than on what he wears.” |
She doesn’t like garlic.
She is crazy about shoes: “But I lffl
sober shoes, not fancy ones.”
She is a good cook, and at sixteen si i
joined the Ballet des Champs Elysee
touring all Europe and giving commarl
performances before the King of Egypt ar
the Queen of England. She has no pe
now.
She adores Dior, admires The Soil, ll
Emile Zola and feels she learns fro:I
watching the work of great artists on tin
screen. “I get inspiration that way. Whc*l
I saw Marlon Brando in ‘On the Watei i
front,’ I was very moved. Also, when I sa
Judy Garland in ‘A Star Is Born.’ ”
She is characterized by simplicity ar
a great passion for beauty. She cooks 1
instinct and taste, not by measurement
She dislikes highly spiced food.
She loves to put on a record at horr :
and jitterbug with her friends. “Yc
don’t have to watch your technique, ju
let yourself go; just dancing to the musi
It is wonderful!”
Her first act in the United States, be
tween planes in New York, was to ordi
a double banana split.
She has a small nose and startling bli
eyes, and as a little girl she changed ido
with every movie she saw! “When I sal
Vivian Leigh I spent every spare momei
trying to make my round mouth look Iff
her little one.”
She is very tender towards close friend
distant with mere acquaintances.
She now makes up for her childhoc
anemia by eating two and a half poun<
of meat daily on doctor’s orders, and h(
favorite lunch is two man-sized steaks.
She earned her first money at the af
of fourteen, acting and dancing in a chi i
dren’s show, for which she was paid fifl ,
francs — about fifty cents. She never cashe ‘
,at check, saving it as a souvenir, but it
is been mislaid and she cannot find it.
She is affected by military processions:
get a big bump in my throat. It doesn’t
atter what nationality it is.” She thinks
:otland a beautiful country.
She prefers more formal type clothes for
>th daytime and evening, and laments
r inability to see more plays and con-
rts. She favors French Impressionist
linters and hopes someday to collect
eir work.
A performance has to be honestly moving
make her cry.
She loves parlor games: “Especially noisy
imes. It is fun because everyone gets so
idignified trying to act out things with-
it making it too easy, giving it away.”
Her favorite colors are blue, pink, orange,
How and black.
She is very fond of cats: “As a matter
fact, I have had more cats even than
>gs. Of mixed breeds always, never
digreed.”
She has read a French child’s book called
■oquemitaine six or seven times: “In
ance, when a child is naughty, he is
reatened that he will be given to
oquemitaine, who looks very ugly but
really very nice and kind to children,
pecially the unwanted ones. I think this
ok would make a lovely picture, but I
uld only see the late Lon Chaney in the
rt.”
She treasures old Roman coins dated
fore Christ, which she herself dug up
a trip to North Africa. She has a very
Intimental attachment for the theatre in
iris where she made her bow as a bal-
■ina.
She was a frequenter of her father’s
tarmacy where she “borrowed” all kinds
make-up with which she would try for
:ird effects.
Her favorite composers are Bach, Wag-
r, Stravinsky and Gershwin.
Leslie Caron likes most to stroll on the
lamps Elysees, London’s Picadilly Circus,
:w York’s Times Square and Fifth Ave-
le, and Hollywood’s Sunset Strip: “I
ten drive to the sea at Santa Monica.”
The End
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The Welsh Rare Bit
( Continued, from page 67)
the most part, dock workers, railway
hands (it’s a stone’s throw from Waterloo
Station) and neighborhood folk, with a
smattering of the players from the famous
Old Vic, directly across the street.
“Well, friends,” he called, “if this is a
fashionable London soiree, I’d better set
’em up. One all around, Joe. And then —
back to rehearsal.”
Small wonder that Burton was amused
at the report. It was either that or become
very, very angry— and typical of his wry
sense of humor, he chose to laugh.
“What chance have I had to attend any
soirees, fashionable or otherwise?” he
grinned, as he downed his pint of beer.
“Since I arrived back in England last July
I’ve spent every day from 10:30 in the
morning until past midnight at the theatre,
rehearsing next week’s play while appear-
ing in the current one. And, in case you
think I’m complaining of overwork, I’ve
loved every minute of it.”
The item in question, nevertheless, was
only one of many that have served to
build up a false picture of Richard Bur-
ton, and the time seems ripe to debunk
the legend of Burton the debunker, Bur-
ton the stingy, Burton the indifferent,
Burton the flirt. Rich is the first to admit
he has his faults. But he can’t quite go
along with the gang that he’s as bad as
some of the stories have pictured him, if
for no other reason than the simplicity
and honesty of his approach to life.
It probably all goes back to his boyhood
in the bleak, treeless valley in South
Wales in the tiny mining village of Pon-
trhydyfen, where he was born. There were
thirteen in his family and his name was
Richard Jenkins then. His father and six
brothers were all miners and Richard
readily admits they lived in a slum neigh-
borhood. Work, work, and more work was
the order of the day, but when each day’s
work was over, those Welsh miners who
were Burton’s grandfather, father and
brothers relaxed in the only way they
knew — by playing just as hard as they had
toiled in the pits. And always with a laugh
and a melodious Welsh voice raised in
song to forget the rigors of the day.
“When I was a kid,” Rich recalls, “when-
ever I ran into difficulties, and there were
plenty of them in the town where we lived,
the only answer seemed to be to work
harder — and to laugh while we were doing
it. Then, too, we’re a very knowledgeable
family about the Bible and likely to quote
reams of it on all possible occasions. The
combination of the two can’t be beat. The
one passage that has probably been the
greatest influence in my life is the one
from Ecclesiastes that goes:
“ ‘Whatsoever thy hand findeth to do, do
it with thy might; for there is no work,
nor device, nor knowledge, nor wisdom,
in the grave, wither thou goest.’
“Father used to throw this at me when
I refused to cut the sticks to make the
fire. I can’t remember when I didn’t know
it and I carry it always with me engraved
on a tag on my key ring. I’ve always be-
haved the same, when I was eight and
eighteen and now at twenty-eight. What
I do, I do with all my might, and I’m only
sorry if my enthusiasm is often misunder-
stood.” As it obviously was by the re-
porter who wrote of Burton’s titillating ac-
counts of life in Hollywood.
Rich might have grown up and gone into
the mines like his father and brothers if it
were not for a wonderful teacher named
Philip Burton who taught Rich in high
school. Philip Burton got Rich interested
in acting, taught him how to speak English
without a Welsh accent and helped promote
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108
his scholarship to Oxford. He even paid
for his clothes while he was at the Uni-
versity. Today, Rich calls him “my second
father” and took his name when he be-
came a professional actor.
Since Rich was only sixteen when he
won his scholarship, he could not enter
Oxford for a year. During this interim,
he answered a newspaper advertisement
of Emlyn Williams, famed author of The
Corn Is Green, who wanted someone who
could speak Welsh and looked twenty-
two. Sixteen-year-old Mr. Richard Jen-
kins went up for a reading before Williams
and came out with a role in “The Druid’s
Rest.” The play ran for a year, just long
enough to permit Rich to enter Oxford
right on schedule.
With the war on, Richard joined the
Royal Air Force after his first year at
Oxford and was sent to Canada to train
as a navigator. At the end of the war,
with eight cents in his pocket, he went to
New York. While there, he sang Welsh
songs for his supper, did his sleeping in
the subways and on the post office steps.
When he finally returned to London, his
luck changed and he found immediate
stardom.
Richard Burton’s American film career
began in 1952 when Daphne DuMaurier
herself requested him for the lead in “My
Cousin Rachel.” Recently he finished his
fourth picture for 20th, “Prince of Players.”
While Rich knew adversity as a young-
ster, his stage success was not the result
of years of discouragement. And just as
he was taught to laugh at adversity when
he was a youngster, so today, Rich prefers
not to be serious when he can be other-
wise. His capacity for humor is as great
as his capacity for work.
“Sure I’ve told a few friends some
amusing experiences I had in Hollywood,”
he grins, “but aside from not attending
any fashionable soirees, I’m not even sure
what ‘titillate’ means.”
It wasn’t the first time Rich found him-
self misquoted, thanks to this lack of seri-
ousness. When reporters who met his
plane asked the obvious question, “What
do you think of Hollywood?” Rich, his
face perfectly straight, delivered his reply
in the best possible “bop” language.
“Hollywood,” he deadpanned, “is a real
crazy town; the people there are real
nervous.” As anyone familiar with bop
jargon knows, Rich was only being com-
plimentary. Or thought he was, until he
picked up next morning’s paper. “Richard
Burton,” columned one of London’s lead-
ing columnists, “says Hollywood is in-
sane, and that everyone connected with
the motion-picture industry is extremely
nervous.” .
Now take those stories you’ve undoubt-
edly read about Burton being stingy.
About his indifference to clothes, his living
with friends to escape hotel bills, his fail-
ure to show up regularly at Ciro’s and
Mocambo. Richard will readily admit that
he does count his pennies. He’s done it all
his life. He knows how much he has
coming in each month, and despite what
has been printed about his financial “take,”
his contractual obligations, his income
taxes leave him with far less than the
fabulous salary reported in the papers.
He will also tell you that when he and his
wife first arrived in Hollywood they moved
into a $750 a month apartment engaged for
them by some British friends. Their car
was a Cadillac at another $350 per month.
Their restaurant bills at all the suggested
places ran into a phenomenal figure. Pretty
soon the Burtons found, even as you and
I, that they were spending far more than
they were earning. So they began to cut
down. Back went the Cadillac; instead the
Burtons began driving a Ford. A modest
apartment replaced the glamorous pent-
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house. A quiet, unpublicized restaurant
was found instead of expensive Romanoff’s
or La Rue. Out of this, the myth that
Richard Burton was stingy.
Yet when an English girl, a former tech-
nician in one of the British studios, fell
ill during her vacation in Hollywood, only
one member of the British colony, most of
whom knew her well, found his way to her
bedside. Richard Burton.
Maybe he heard his dad saying, “What-
soever thy hand findeth to do, do it with
thy might.” Maybe he didn’t. At any rate,
it was only Richard Burton who went to
see her in the hospital, and it was only
Richard Burton who said:
“Look, sweetie. I know it’s tough to get
money out of England these days. Don’t
worry about what all this will cost. You
just concentrate on getting well.”
And with that, although he could ill
afford it, he quietly slipped an endorsed
check into her hand — the amount left
blank.
When his business manager broke her
neck in an automobile accident, Rich was
completely at her service. And it was
more than monetary aid. Realizing the
desperateness of her situation, he sat day
after day in her darkened room, gently
holding her hand and softly reciting com-
forting passages from the Bible.
Those words must have reached into
her subconscious mind, yet she recalls it
was a laugh at Burton’s expense that
brought her back to normalcy. Her nurse
approached her one morning with a mes-
sage from a director’s wife who was a
patient in the next room. “I don’t know
who your friend is who recites from the
Bible,” was the message, “but whoever
he is, he should certainly try Shake-
speare.”
Burton is the first to admit that he has
a dreadful memory for names, and suggests
that this may be the reason he has been
branded conceited and arrogant.
“Maybe it’s because I’m concentrating
too hard on remembering my parts (I'm
playing five, alternately, at the Old Vic),
but I simply draw a blank when it comes
to recalling names. Do you know, I once
forgot my wife’s name? I started to in-
troduce her, and for the life of me I
couldn’t think of it. In desperation, I
presented her as Phyllis, and her name is
Sybil! Brother, if looks could kill, I
wouldn’t be telling this now.”
“And then there was the afternoon,” he
continued, “when the doorman at the
theatre informed me there was a Mr.
Aherne to see me. ‘Mr. Aherne?’ I said.
‘I don’t know any Mr. Aherne.’ ‘The gen-
tleman is quite insistent,’ the doorman
went on. I was just as insistent that I
didn’t know who Mr. Aherne was, but 1
was finally persuaded to go to the stage
entrance. There was my greatest buddy
from my RAF days. A hearty Irishman
I’d merely shared room and plane with
for four years!”
You may also have read that Richard
Burton does not grant interviews. In a
sense that’s true. He does not “grant”
them. As Burton says, “Grant is a pretty
lordly term for a simple Welshman like
myself. I’m grateful when a newspaper
person wants to interview me. But I guess
I must learn to stop saying exactly what
I think, for I’ve found that can get me in
nothing but trouble.”
Like the woman from the small Middle
Western paper who was one of many to
interview Burton during the filming of
"The Robe.”
“She asked all the routine questions,”
Rich recalls, “including the inevitable one
about, ‘What are you afraid of?’ Well, I
can honestly say I’m not afraid of any-
thing. Not afraid, at least, to the point
where I won’t tackle it and at least have
a try. That’s exactly what I told her, and
added, ‘I’m just a little apprehensive of
death.’ Imagine my surprise when the
studio publicity man showed me the clip-
ping a couple of weeks later. There, in
bold black type, was the headline: ‘Rich-
ard Burton Fears Death.”
Burton’s driving ambition, sparked, no
doubt, by that same Biblical passage, has
led to further misquotations. Asked what
his aim in life is, Richard replied: “To be
the best in my field. I hope to be the
finest actor under thirty-five on the stage
or screen.” So out came the reporter, un-
used, no doubt, to such disarming frank-
ness, saying, “Richard Burton says he’s
the finest actor on the stage or screen.”
Burton is quite sure if he ever does
have any delusions of grandeur, all he
need do is visit his eighty-two-year-old
father in Wales. Dad, in fact, has difficulty
in remembering which of his seven sons
is which, and often gets Richard confused
with his brother Will, who went to sea.
When Rich visited his family before start-
ing his stint at the Old Vic, his father
asked where he had been.
“In Hollywood, Dad,” was Burton’s re-
ply. There was a long pause. “I knew,”
was father’s only comment, in broad, roll- ij
ing Welsh, “you should never have gone 'I
off on that sailing ship.”
The writer who said that Richard Bur- |
ton was disdainful of his fans should stand
outside the Old Vic some evening in the
chilly London dusk. British Shakespearean
fans are much the same as American movie <
fans, differing, perhaps, in only one re-
spect. They are much more likely to stand i
quietly in line waiting their turn for auto- |
graphs rather than push and shove in an J
attempt to be first to obtain the coveted I
signature. When Rich emerges, there is
an excited hum of conversation, and not J
only does he sign the bits of paper, he is j
genuinely interested in the comments of-
fered by these people who are, for the I
most part, ardent students of the Bard
who are eager to offer their opinion. Bur- j
ton accepts their comments very seriously j
and admits that a “Better than Barrymore, |
old boy,” from a grizzled first-nighter at
“Hamlet” gave him more of a lift than any i
of the glowing reports in next day’s papers. I
After the opening of “Coriolanus,” an •
indignant elderly fan cornered Burton at
the stage door to berate him soundly for
failing to take a curtain call.
“Just because you been to ’ollywood, lad,
is no cause for you to be big-headed,” said
the man. “Why weren’t you out there
taking a bow with the rest of ’em? You
mayn’t have been the star, but you might ,
have given us a smile and a bow.”
“It took three pints of beer at The Olive i
Branch,” Rich laughs, “before I could con- i
vince my newfound friend that my ab- i
sence from the final curtain was unavoid-
able. You see, my last scene called for
me to take a fall, and I fell so hard that
I ended up with a violent nose bleed.
Guess that’s one time I shouldn’t have \
‘done it with my might.’ ”
Burton personally answers almost every i
fan letter he receives. The almost is his i
one reservation. He refuses to reply to
gushing nonsensities of adolescent, hero-
worshipping girls who, he feels, should
not be encouraged. But, if their letters are
critical or complimentary about his acting I
every comment not only is answered but
appreciated.
Of all the accusations that have been
made against him, Burton confesses that
one is perfectly true. He is a flirt.
“I adore women in general,” he explains
with disarming honesty, “and I like being
in their company. The prettiest girl at a
party is the one I want to sit next to or
dance with, so in order to make sure 1
get the chance, I always say the nicest
possible things because I know it will
please her.”
And what does Mrs. Burton, who was
an actress herself and met Rich when he
was a star and she an eighteen-year-old
bit player in Williams’ “The Last Days of
Dolwyn,” think of the fact that her hus-
band, whether because of his unabashed
approach of unmasked flattery, his quick
wit, his seemingly endless fund of Welsh
songs and stories, or just his completely
masculine attractiveness, is usually the
center of all feminine eyes? Sybil Burton
is philosophic about it all.
“I’ve watched Rich be just as charming
to a seven-year-old child or an eighty-
year-old woman as he is to the reigning
beauty of London or Hollywood,” she
smiles. “And as long as he keeps it that
way, it’s all right with me. After all, I’m
Welsh, too, and was brought up on the
same motto: ‘Whatsoever thy hand findeth
to do, do it with thy might.’ So I guess
I cai»t complain that Rich flirts with young
and old with the same intensity that he
puts into everything else he tackles — that
is, if he continues to keep it that way!
The End
It might have been
my daughter!
When you listen to radio’s “My True Story ”, you hear an emotion-packed
episode that might easily have happened in your town, your own street — your
own home. For here are true-to-l if e stories, taken right from the files of
“True Story Magazine They deal with the loves and hates, jealousies and
fears of real-life people. And understanding their agonizing emotional con-
flicts may help you to avoid heartache for yourself or your loved ones.
So be sure to listen.
TUNE IN
//
MY TRUE STORY
a
AMERICAN BROADCASTING STATIONS
No one understood why the Reverend had married her — the town’s spinster. Only she knew his shameful
reason. Read “MURDERESS!” in MAY "TRUE STORY MAGAZINE at newsstands now.
110
Some Wives Have Secrets
( Continued from page 47)
balanced and running the house well. I’d
just as soon Tony wouldn’t see me sham-
pooing my hair or plucking my eyebrows,
not because he doesn’t know I do it, but
because one doesn’t look especially attrac-
tive doing them. When I’m curling my
eyelashes (I have very long eyelashes but
straight as strings and I like to curl them
so they frame better) I’d just as soon he
wouldn’t be around. I don’t like him to
see me in the in-between stages. But if
he sees me without make-up (and he often
does) that’s okay with me. In fact Tony
thinks it is appealing at times.
“The way I feel, it’s not what you do in
the glamour department that should be
kept secret from your husband, it’s how
you do it — and this is a matter of fastidi-
ousness, of privacy. And a certain amount
of privacy is important in marriage. It
adds dignity and a little magic.
“But if I don’t have many secrets from
Tony regarding my make-up tricks, I do
have others which are equally feminine,
such as the way I get my own way. Every
woman has a special way of getting her
way, and it’s always her top secret. Me,
too! Take the problem of going to parties.
In the Curtis household this is a problem
on account of I’m a girl who likes to go to
parties and Tony is a boy who likes to be
at parties. He always says he doesn’t
want to go but, once he gets there he stays!
“I’m on to this quirk in Tony and the
method I use when there’s a party coming
up is this:
“On the day the invitation arrives:
‘Darling,’ I say, casually, ‘we’re invited to
a party this Saturday night.’
“Tony: ‘I don’t want to go.’
“Me: ‘You’re perfectly right — let’s not.’
“Come Saturday p.m. and we’re all set-
tled in for a cozy evening at home, me
stretched out on the davenport, Tony play-
ing records or reading. Along around 8:30,
‘What’s we do?’ Tony asks, restless.
“Me: ‘Let’s call Marge and Gower
Champion, ask them over. Oh, shucks, I
forgot — they’re going to the party!’
“Tony: ‘How about Patti and Jerry Lewis
—might drop in on them, huh?’
“Me: ‘Good idea — oh, heck, they’re go-
ing to the party, too. Patti mentioned it on
the phone this morning.’
“Tony: ‘Well, why don’t we go?’
“Me: (yawning, stretching, getting slow-
ly to my feet, a life-size portrait of the
glad-to-oblige little woman) ‘Well, all
right dear, if you really want to.’
“We go to the party and, since it was ‘his
idea’ we have a wonderful time. The wife
who makes her husband believe that every
place they go, everything they have, every-
thing they do is his idea makes of her
marriage (this is my secret) a perpetual
bed of roses!
“It takes a bit of doing, but take it
from me,” Janet grinned, “it can be done!
“I don’t know whether this belongs in
the category of keeping a secret but often,
for Tony’s own sake, I postpone telling
him something. For example, when I was
assigned to “Rogue Cop,” at Metro-Gold -
wyn-Mayer, Tony was making a musical
at U-I. He’d never made a musical before
and was edgy about it. Every night he’d
come home exhausted. So rather than
distract him with my problems, I didn’t
' mention my new film until he was just
• about out of production. When a man is
1 tired and preoccupied with his own affairs,
to keep your affairs a temporary secret
is, in my opinion, the kind of secret a
[ wife should keep.
“In other words, a wife, the way I see
' ; it, should keep secret anything that might
annoy or worry her husband — always pro-
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viding it isn’t something about which he
has reason to worry.
“If someone says to me, in passing, ‘Gee,
you look pretty today!’ I don’t make a
point of repeating the compliment to Tony.
If he didn’t think I’m pretty, I might,”
Janet laughed, “just to boost my stock!
“If someone makes a pass at me, I never
tell Tony. He’d only get furious and go
out and bop the guy. Since it’s nothing
I’ve done and since there is nothing to be
gained by telling Tony other than to
make him jealous. Any wife who deliber-
ately tries to make her husband jealous
must be very insecure within herself or in
her marriage — or both.
“There are secrets about your health
you should keep — to a point. Men hate
complaining women — the chronically head-
achy type or the grown-up baby — ‘Oh, my
thumbnail, it hurts!’ About the little
aches and pains a wife should, to put it
bluntly, shut up! But any real health
problem should never be kept secret from
your husband as I learned to my discom-
fort— and Tony’s. Starting about three
years ago I began to have recurrent head-
aches. They were quite bad and I didn’t
say anything about them — partly because
I was scared something serious might be
causing them; partly because I will not be
a ‘I’m having one of my headaches’ small-
time hypochondriac. I got away with it
because, by some fluke, the headaches
never hit me when Tony was around. But
one night at Patti’s and Jerry’s, I did have
one and the pain was so intense I broke
down and cried. Since Tony’d had no
suspicion of the headaches and had never
seen me in pain before, he was badly
shocked. He steered me to the doctor, who
sent me to an oculist and I learned my
headaches were due to the simple fact
that I need glasses when I read.
‘“Why didn’t you tell me sooner?’ Tony
chastized me. ‘I’d have made you check
with the doctor and could have saved you
all the pain — and me, a nasty scare.’
“I realized then that a wife’s state of
health does concern her husband, so this
is not a secret she must keep from him.
Nor any secretiveness about money mat-
ters. I used to be very extravagant — not
now. One day, not long ago, I went into
Rex’s shop here in Hollywood and fell in
love with a mink-trimmed white sweater.
But not until I checked with my business
manager and made sure it wouldn’t af-
fect my budget did I buy it. For unlike
the bathroom towels marked His and Hers,
the budget in any good marriage should
be marked Ours. When a wife buys any-
thing from a washing machine to a silly
mink-trimmed sweater with the feeling
that she’s putting one over on her hus-
band, this is unfair and she’s only defeat-
ing herself in the long run.
“Work problems should never be kept
secret from your husband since they may
very well affect you both. I don’t run to
Tony, nor he to me with the little frets
that happen to everyone in the course of
the day’s work, but if we’re having any
real problem with a scene, or a script, or a
contract, we hash it over together!
“The only truly important secret I keep
from Tony,” Janet said, pausing to feel her
way, “are those things that you can’t tell
because you can’t really express them —
nothing to bother your husband or shock
him, just something that, deep down, is
your own. And in each of us there is
something personal that must be our very
own.
“What everything I’ve said boils down to,
I guess, is that a wife has a right to her
secrets, providing they do not touch, even
remotely, her husband or the life and
love they share. Come to think of it,”
Janet laughed aloud, “once these words ap-
pear in Photoplay I won’t have either
any secrets from the readers of Photoplay
magazine or any secrets from my husband!”
^^t lunch in The Green Room on the
Warner Brothers lot where she’d just fin-
ished “Young at Heart,” Doris ordered a
trencherman’s meal of hot soup, rare steak,
vegetable, salad, milk, apple pie a la mode,
remarking as she did so, “Marty says I’m
happiest when I’m at dinner or right after
it! ‘But beware the Day,’ Marty cautions
the unwary, ‘when she’s hungry.’ ”
After her pangs of hunger had been as-
suaged, Doris answered the question put
to her: Should a wife have secrets of any
kind, or for any reason, from her husband?
“I’m not theorizing about this, mind
you,” Doris admonished. “I’m not speak-
ing objectively; I’m just speaking for my-
self and, what’s more, about myself. I
haven’t got a secret of any sort or kind
from Marty. I tell him everything. I
make not the least attempt to hide from
him anything I do, or think, or am. Con-
cerning my person, I certainly have no
secrets from him — he knows I lighten my
hair. He knows very well what I look
like without make-up — and he likes me
best,” Doris said, happily, “in the early
morning, hair tousled, no make-up. I
don’t know that I’d get to the point,” she
laughed, “of wearing a chin strap in front
of him, but if ever I do, he’ll get hysterical!
Marty and I can laugh at, as well as with
each other, and speaking of secrets, this
in my book is one of the secrets of a
healthy marriage.
“Actually I don’t know what kind of
beauty secrets you can keep from your
husband unless you have (and we haven’t)
separate quarters.
“Or what kind of secrets a wife can
keep from her husband, if she shares, as I
do with Marty, not only living quarters
but living.
“The importance (and the comfort) of
★ ★
TO REACH THE STARS
In most cases your letters will reach
a star if addressed in care of the
studio at which he made his last pic-
ture. If you have no luck there, try
writing to each star individually ,
c/o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Cal.
Allied Artists, 4376 Sunset
Drive, Hollywood 27
Columbia Pictures, 1438 N.
Gower Street, Hollywood 28
Samuel Goldwyn Productions,
1041 North Formosa Avenue,
Los Angeles 46
M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38
Republic Studios, 4024 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 W.
Pico Blvd., Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City
Warner Brothers Pictures,
4000 West Olive Avenue, Burbank
★ ★
sharing everything with Marty began, I’d
say,” Doris confided, “the night before we
were married when Marty came around
to take me out to dinner and found me
jumping! An hour or so before, my young
son, Terry, then eight, had got into a fist L
fight with another boy and I was shocked.
I managed to pry them apart, went after |i
the other boy, sent Terry to his room.
When Marty arrived and I, all aquiver, J
told him what had happened, he just I
looked at me. ‘Well,’ I said, ‘you’re pret-
ty calm!’
“ ‘Dear, you’re going to have to learn,’
said Marty, ‘that little boys are not little
girls. You may not have had fist fights 1
when you were young, but 1 had them!’
“Until I married Marty I used to be t
aghast at the things little boys do. I didn’t j
understand Terry at all — until I married i
Marty. Nor, for that matter, did I under-
stand myself. I used to be so intense about
everything. In a business conference, what i
I was going to do, or not do, about a cer- |
tain picture used to tie me up in knots!
I’ve never liked anything unsettled, hang-
ing. The ‘Well, we’ll know next week, a
week after’ routine practically unhinged ,
me! Now, since I’ve had Marty to talk i
things over with, I am completely relaxed.
Marty helped me learn patience. ‘If it is to
be, it will be,’ Marty would say. ‘If it isn’t :
to be, so what?’ Now, negotiations for a
picture or a contract can take six months s
and it doesn’t unnerve me.
“I don’t think a wife should ever keep
anything that troubles her — even things
that embarrass her — from her husband. I
never do. And self-revelation was some-
thing I had to learn. I’ve never had very
much of what Marty calls ‘communication
ability.’ I had a tendency, deep-seated, to
keep me to myself. I don’t, or I didn’t,
open up either my mouth or my heart
easily. Now I talk over with Marty every
single thing that concerns me. As the
fiction writers put it,” Doris laughed, “I
‘bare my soul.’
“For instance,” Doris went on, “I don’t I
play theatres or clubs. I just can’t. For a
long time this — which is almost a phobia ;
—worried me. I thought I was cheating i
the fans. I also felt I was cheating myself
for it helps tremendously to meet people
face to face so that if you can, you should
play to live audiences. I do get to Chi- j
cago and to New York to talk with the
press and the disc jockeys, but although
I used to work in front of audiences all
the time and thought nothing of it, since
I’ve been in pictures I’ve got away from
live audiences. What I go away from is
difficult for me to get back to. Until I
married Marty, I brooded over what I felt ;
was this lack in me as an entertainer. 1
Once I shared the secret with Marty, it
was no longer a fear.
“ ‘If you can’t,’ Marty said, ‘you can’t. !
You’ve got to know and accept what you
can, and cannot do. You have to know
yourself.’
“These were wise words — and revealing
ones. I’m now free of the negative think-
ing about what I cannot do and this re-
leases me for positive thinking about what
I can do — and want to do. I just want to
make two pictures a year. I want, of
course, to keep on recording. I am in two 1
fields and that, for the present, at any rate, i
is fields enough! The rest of the time I <
want to enjoy myself.
“When starting a picture I used to tense j
up. All during the making of the picture \
I was a bundle of nerves. If the picture j
didn’t turn out the way I wanted it to, I
ate my heart out, held private post-mor- |
terns. Now I never have a nervous :
moment (except during the hairdressing
and make-up, which bore me so early in
the morning). I still like perfection and <
am disappointed if the picture isn’t what I
loped for, but I’ve learned from Marty
if I do my best, it’s out of my hands,
j goofed, I couldn’t bear that. But I
ays try to do my very best.
3efore I married Marty I didn’t have
C hobbies. I’d finish a picture and sud-
[y, I’d have nothing to do and at that
1 tension you can’t just sit and relax.
;n Marty’d call me from the office say-
‘Well, what is your day?’ I’d say,
iding dull, ‘I have nothing planned to
That really bothered him. Marty can’t
r idleness. Now, since Marty put his
lr d to it, I have hobbies. I’m taking ten-
I lessons, taking golf lessons and I’ve
lie into gardening (this was my idea)
big way! Now I even share my hob-
with Marty, or perhaps I should say,
y him into sharing them with me.
jt summer, for instance, when the urge
garden overcame me I went out, one
y morning, to Armstrong’s Nursery
bought enough seeds and slips to
:e a desert bloom! That evening when
ty came home I greeted him at the
saying, breathlessly, ‘We have two
ii;n verbena and four dozen begonias to
Hit!’
I When?’ said Marty in a small voice,
y Now,’ I said, ‘where a garden’s con-
Icued now’s the hour!’
J When Doris gardens, she reminds me,’
H ty has been heard to tell people, ‘of a
si;eon. Someone hands her the rake, the
111. the trowel, the weeder, the cultivator
K a surgeon is handed forceps, swabs,
sc pel, retractor!’
k Prayer helps plants,’ I tell Marty. ‘It
pj>s them grow. Not having negative
( tf king about a garden helps it. So
m:h love’ I say, ‘goes into each hole I dig
ifoeach plant. I go out and talk to them,
| to I tell the flowers to lift their faces
kai grow. But oh,’ I said one day, ‘if I
Bi’t get flowers out of all this digging and
jdiotion, I don’t know what I’ll do!”
r Now, just a minute,’ Marty cautioned.
Et nothing. If you don’t, we’ll go to the
ti'sery and start all over again.’
I darty has a terrific sense of humor —
1 al at everything. He doesn’t get excited
w- )out anything. He has calmed our
hisehold down a lot. Whenever I’m dis-
tned, ‘Come on,’ he’ll say, ‘let’s sit
pen and talk about it.’ And we do.
minutes later I wonder what I was
te;ed up about!
? ’m saying all this to make the point,”
D is said, “that for a wife’s own sake,
en more than from a sense of duty, she
si aid not have secrets of any sort or
ki 1 from her husband. Complete shar-
ir of deed and thought, work and play
[is re only way to insure a complete mar-
ri e. And besides,” Doris sighed, “it’s
sc :omfortable.
do refrain from complaining to Marty
win I don’t feel up to par, but this is not
qdifying what I’ve said for complaints
ai not secrets, they’re self-pity. It’s
i w s, I think, to distinguish between the
t\ . Then there are always men who
nue an indirect pitch for every girl who
hir’t three heads — if such happens to me,
aii is amusing, I may tell Marty; if un-
plisant, too unimportant to mention. My
pec, or before-Marty experiences were
also dull that who would want to review
tin? Not I. So I haven’t. Not Marty or
hi would have quizzed me. He hasn’t.
Wich is just as well since I’ve forgotten
(Yterday, never give it a thought, nor
|ta.; any thought of Tomorrow. I’m a Now
1$ I live in, and for, Today.
I [ think it’s marvellous — a gift from
>Gl — to have a companion to whom you
c; tell everything. I wouldn’t belittle
■Hi gift by keeping a secret from Marty,”
iDis said, the color of her sky-blue eyes
'(Opening, “not for anything in the world.”
The End
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FUN FOR YOUR NEEDLE
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Wonderful Mom
0,
( Continued from page 45)
that didn’t much matter because
wasn’t home to reprimand him.
I think maybe not having Mom, al'iy
is one of the reasons I feel so close tew
today. There’s a lot of talk these aj
about “mom” and “Momism” and the fn
mothers do. I don’t think this is fair 9
close to my mother — in fact, there are br
few important things I believe in or bp
for that aren’t in some way wrapped v j
her. And I’m proud of it. I wouldn’t hi
it any other way. But so many p. p
think that because you’re close to hi
mother, you’re tied to her apron sthg
Well, if I am, they’re pretty long st i{
’cause ever since I was a kid, I’ve al ij
had free rein. I came and went, wher in
where I pleased. It’s the same now. 1
To understand this, you’ve got to 1 o
Mom. My Mom’s a regular Joe! She a
amazing woman — a real woman. She’s is
to go it alone almost all of her life ill
never had any love, yet she never gavjj
anything but love. She’s had the kir <
courage that’s a constant inspiration ton
boy — to any man, in fact.
Mother was born in Hamburg, Gernre
one of a family of four children. She li
sister, two brothers; one brother is Mn
twin. There was little family spirit; ;fi
warmth, only a rigid firmness. Becau i
this, Mom brought my brother Walt i
me up to be very close. As a child, Mai
missed the warmth and affection of a
family life, she missed the fun of Cl
mas holidays, the pleasant surprise
birthday party, even the warmth of a g
night kiss and a tucking in at bedtime
cause of this, Mom made extra sure w<
these. Even as a teenager, there wa
fun for her. Laws in her house were n<|
not to be broken. On her first date,
remembers — and she has reason to-
arrived home five minutes after the
few set by her father. The door was loi
That night Mom had to sleep outsid
the snow, and the next morning she
refused breakfast and was rationed (
few pieces of bread crusts. Sounds li
Grimm fairy tale, doesn’t it? But it’s a
When Mother was sixteen, her fa
brought her to this country and pi)
her out to work, doing housework n
other odd jobs, real tough work.
To get away from it all, Mom ma ii
soon after. But it was not a happy
riage. The only brightness, she says,
Walt and me. I was born a year afte :i
brother in New York’s Bellevue Hos
While there, my father came to visi tl
mother once and threw a five-cent c.<j
bar on the bed. This was the gif
brought her. Mother has often told
making it sound funny, about the da?
was bringing me home from the hos
All the other mothers were proudly si
ing off their babies, all dressed up in p
new baby finery, and Mother could
cried she felt so bad — all she had fo
was a little shirt and blanket.
I don’t remember much about my fa
The only lasting impression I have of
is one day, when I was very young, he
striking my mother and I tried to stop
by grabbing at him, but I couldn’t hold i|
back.
Mom doesn’t talk much about those ■
years in New York. She just keeps e\
thing on an upper level, always has-
h's beautiful and gallant of her. But
told us, laughing, how she used to
our diapers in a tub by the light of a
die stuck on the edge of the tub. I can
remember watching her scrubbing ;
and saying to us, over her shoulder, “
and water are cheap, don’t ever fi
that.”
114
We didn’t ever forget it — even as we
ew older. What Mom meant was, “Clean -
less is next to godliness,” and she didn’t
: ean just bodily cleanliness, either. My
ling out for sports, first horses, later on
:ating, stems, in some way I can’t quite
!:plain, from this soap-and-water maxim
■ Mom. Maybe what I mean is that my
ve of sports, which are clean things,
imes from the love of clean things Mom
stilled in us.
Another thing I clearly remember is be-
g taken for baptism by a woman who
ied to take care of us while Mom was out
orking. Knowing that her unfortunate
carriage wasn’t going to last, Mom had us
iiptized in the Catholic Church with the
ipe (one of them) that when the time
me we would take time and thought and
ayer to our marriages which, as a Cath-
ie, would have to last. My brother’s is
Ssting — and happily. Mom is hoping the
:;me for me. Before I marry I’ll take time
rid thought and prayer to it.
Fortune took its first turn in our favor
hen Grandfather Gilien, my mother’s
'ther, who was a Captain on the Matson
jne, and who softened as the years went
r, booked passage to San Francisco for
, got us an apartment and paid two
onths’ rent in advance. In San Fran-
jico, Mom started training for the nurs-
g and physiotherapy work she’s been
jiing ever since.
(Things were still pretty rugged, though,
r a woman alone with two boys to
iiise, Sometimes there weren’t any jobs;
ijmetimes the jobs there were didn’t pay
ough to make ends meet. Mom had a
ysical handicap to overcome, too. When
e had her tonsils out, they’d acciden-
lly cut the vocal chord so that for years
e stuttered badly. She had a grief, too.
j San Francisco, Mom married a man
med Harry Koster. We were all very
voted to him. Harry was killed in the i
cond World War.
'Everything that can mow a person down
ppened to Mom. But she never lost
r courage.
“Things aren’t too good now,” she used
j say, “but they’ll be better.” That’s
pat she always said. It stayed with me,
b. A prop. A challenge. I couldn’t ever
ef or feel sorry for myself — about any-
ing! No, ma’am. Whenever things
pked dark brown, like the two years I
it in in Hollywood before I got my
leak in “Island of Desire,” or when I
i “Return to Treasure Island,” in which
: like the picture, was a dud, I’d say to
jyself, tongue in cheek but from the
(art, “Things aren’t too good now, but
ey ’ll be better.”
‘Don’t ever regret anything that hap-
ns to you,” is another of Mom’s maxims.
Iverything that happens to you is an
perience worth having, if you learn
)m it. You can only learn by experi-
jce.”
i You sure do. You learn by association
S th a woman like Mom, too. She’s never
1 en bitter. With a woman like this, you
•n’t help learning. They’re great things,
others.
(jAfter we’d been in San Francisco awhile
• om got her job as a trained nurse and
fysiotherapist on the Matson Line, mak-
jg the run between San Francisco and
honolulu. This enabled her, between
ins, to be with us. She’d be in, then
; t again. We moved around a lot, were
'f in the care of friends or stayed in
■ apartment with Mrs. Kelson, the
bman Mom hired to look after us. Al-
ff'Ough we never had, properly speaking,
Ureal home, Mom managed somehow to
/e us a feeling of home. She, who had
little, gave us a most wonderful child-
od. There were never elaborate pres-
ts or anything like that, but we knew
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115
that everything Mom did for us came
from the heart. We always had the warm
feeling, the kind of security that comes
from a love you know can never fail —
it was a priceless gift that money couldn’t
have bought. Life with Mom taught me
that money can’t buy happiness.
Another thing, Mom always kept us
immaculate. We always wore short pants;
I remember our shirts washed and ironed,
our shoes shined, all neat and clean.
Pride of person, the sense of human dig-
nity, of which she has so much, is one
of Mom’s many legacies to me. For al-
though between pictures I may, and usu-
ally do, hack around in jeans and T-shirts,
they smell, believe me, of that soap and
water Mom holds so cheap — and so dear.
Mom was equally particular about the
things we said and did and the friends
we made Whenever she had money and
saw an opportunity to move us to a bet-
ter neighborhood, she always did. She
couldn’t send us to the best private
schools, but she did the best she could —
and always expected us to do the same,
too.
“What you learn,” she said to us, over
and over again, “no one can take from
you, so study hard.”
When, later on in Los Angeles, Mom
got a very good job with the Matson
Line, she sent us to St. John’s Military
Academy where we boarded for two and
a half years, which was wonderful train-
ing for us. Mom did everything for us,
which meant she denied herself. To be
truthful I don’t remember her ever having
more than one dress — up to a couple of
years ago, that is. For Christmas last
year I gave her a tweed suit from Eng-
land, a camel’s hair coat, charcoal gray
skirt from Switzerland, four cashmere
sweaters — white, deep yellow, wood violet
and charcoal gray — some pearls and pearl
earrings in a jewel box, all gold, all lined
in maroon velvet, with a butterfly pressed
on the lid which plays, as you open it,
a Schubert sonata. And boy, what a kick
I got from giving them.
I’ve also given Mom a car (this was
after she took over my old apartment
and I moved into my new one). This was
my first real present to her and I made
a production out of it! I had it driven
around to her street in the dead of night.
Next morning, early, I phoned her.
“Look out the window” I said. “What
do you see?”
“I see a light-colored car,” Mom said,
“a ’fifty-one or ’fifty-two Chewy, looks
like.”
“I’ll be right over,” I told her, “with the
keys.” Well, she flipped. This was the first
car that was ever hers, outright, the first
one she didn’t have to worry about pay-
ments. Mom’s like a kid when you give
her things, she twinkles all over. I tell her
she’s like a Cocker puppy; she’s a kick all
right!
This getting-a-place-of-my-own deal
throws another beam of light on Mom
and the way she is. You hear so much
about how mothers resent it, get all
crushed, when their kids want to have
places of their own. Not that girl. When
I said to her, couple of years ago, “Gee,
Mom, I’d like to get an apartment of my
own someday,” all she said was, “I’ll help
you find one after work — only thing, get
a cheery place!”
First time she came to see my new
apartment, “Bless this house,” she said
as she walked in; then, looking around
her, “It looks like you.” And as she was
leaving, “Just one thing,” she said, “your
wool socks — I’ll do them for you. You
p can pay me if you want, but don’t send
them to the laundry, they’ll come out
like boards!”
The fact that Mom’s only worry was
my wool socks didn’t surprise me. So
many parents worry about their children,
but in spite of her single-hearted devo-
tion to us, Mom never has. “Thoughts
are things” she always says. “If you hold
the thought that your son will meet with
an accident or is going with fast women,
you make it so.”
There’s a lot of salt and spice as well
as the sweetness of self-sacrifice in Mom.
She’s never syrupy. She packs a punch.
I remember the first time I wanted to
smoke (I was twelve). “I want you,” Mom
said, advancing upon me, lighted cigarette
in hand, “to take a deep, deep puff.” I
hadn’t any choice and knew it. I took
the deep deep puff. I went “Agghhh!” I
turned green, red and blue. I’d had it!
She’s the first one to tell you when
you’re good and when you’re bad. When
1 first went into the movies, “Whatever
you do,” Mom said, “just every day
thank God and don’t you ever forget it.”
I knew what she meant — that the real
credit belonged to Someone bigger than
she or me! When I got my big break in
“Island of Desire,” “You’re going to go
far,” she said, “you can’t help it. I’ve al-
ways known it.”
She’d paper the wall with my pictures,
I bet, if she dared to risk the laughs she’d
get. She’s always telling me, “I do wish
you’d let me know when articles about
you come out in the magazines. I get a
kick out of seeing them.” But when I
made “Return to Treasure Island,” “Did I
ever laugh!” she said, looking me over
with an appraising eye, “Boy, were you — ”
she stopped for a word — “lousy, in that!
I was really in the aisles!” “Track of the
Cat” she liked. “The man who did that
must have a great soul.” When she met
director Bill Wellman, the “man who did
it,” “This man,” Mom said, “has a won-
derful heart. Earthy.” As of this moment,
she hasn’t seen “Battle Cry.” When she
does, she’s going to flip. I can feel it
coming. It will be her picture.
Mom’s given us values, too. A very
important one is the value of friendship.
“If you can make five friends in life . . .”
she’s always said, and we’ve known that
what she means is, that you have to give
of yourself to friendship, give a lot, so
you can’t spread it out too thin. The
number five about does it, too, as far as
I’m concerned — my brother, whom I’m
very close to, is my friend. Dick Clayton,
my manager. Ron and Patti Robertson,
childhood friends from the days when
we were kids together. Lori Nelson, a
real good friend. (Friend? Hey, let’s
warm it up a little!) I’m nuts about Lori.
To me she is wonderful, a real dream
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girl. A Sweetheart. Lori’s the type y
could bring home and say, “Mom, this
The Girl” — and Mom would just fl
(How about it, Mom, what say?)
Another thing Mom often says a
deeply believes is: “Good things happ
to good people” — the woman’s a poet
“It’s the principle of the thing,” is a
other of her daily reminders. “Princip
are so important,” she says with su
earnestness her eyes are wide blue sa
cers. “Integrity is important.”
I kid Mom about these daily reminde
of hers.
“All mothers,” I tell her, “have t
same script writer. ‘It’s the principle
the thing,’ ‘You’ll be the death of me y<
are lines they all use. ‘Well, it’s for yo
own good’ — that’s a line they always u
I’ve heard Lori’s mother use it on h
I’ve heard Mrs. Robertson pull it on Pa
and Ron. I’ve heard you — really, Mon
I say, pulling her leg, “the dialogue ru
the same!”
So it does. But believe me, if you he
it often enough, some of it sticks!
I keep kidding her. “Now, why do
you get married?” I’ll tease just for
kick of hearing her say, “Now who,
my age, would want to marry me
Mom’s name is Gertrude and she hai
it, so I always call her “Gorgeous Gerti
and she hates that worse! I kid her
reversing whatever she says to me. Li
whenever I have two drinks, Mom
say, “Don’t you think you’ve had enoug
You know,” she always adds, in a sta
whisper, “alcohol numbs the brai]
She’s had maybe one cocktail but, “Do
you think,” I come back at her, “tf
you’ve had enough? You better stop,’
whisper in her ear, “before your brai:
numbed!”
I’ve always kidded Mom — she's a gri ;
one to kid.
I’ve always been able to talk with
able to lay things right on the table
discuss them. “Honey,” I’ll say to her
feel blue today” and after talking to 1
for five minutes, I feel picked up
woman like this, with whom you
just sit down and tell anything is
only a mother but a friend. This is
good relationship. What I think is tl
not enough parents teach their kids 1
right things. They give their kids thin
the kind that don’t last, but not enou
of the things like daily reminders
kidding together and companionship, tl
do. Maybe this is what the writing f
lows mean when they let loose th
blasts at mothers. I wouldn’t know.
I have, and I sure thank God for it
way of knowing because the things Mi
has given, and still gives me, are
things that last, the right things. 1
first-rate things. She knows just instir
tively, what is first-rate, what’s rig
Never anything (or anyone) cheap or vi
gar or second-rate for her. She loves gc 1
books, good paintings, sports (has alw;
loved my skating) , good music. She’s crs
about classical music. Always listens to 1
Met broadcasts on Saturdays. Her one
ambition is to go to the Met and I
news for you, Mom, you’re going to
there and pretty soon, too!
A movie fan, too — she loves Fred M;
Murray, mad for Gregory Peck, a Bo;
fan from ’way back!
She’s got good taste in clothes, too, vj
smart, very plain and simple taste,
always wears gloves on the street, ne’
goes without a hat. She’s a lady, a r
lady.
A real and a great lady and g(
woman and good mother. I could go
but the space in Photoplay isn’t limitlf
So I’ll just sign off by saying, “Here’s
Mom— and thanks for everything!
The End
Be
you,
_
tl ;
::
HO
116
Bachelor Daze
( Continued from page 53)
Taking his eight-foot custom-built bunk,
'here were his phonograph player and
[ecords. and a few pieces of bric-a-brac
e’d collected during the years, and his
■ ew wardrobe unit, but other than the
=w pieces of lawn furniture, the rooms
/ere still empty.
“But as long as we have a roof of our
wn over us and music, Tucker,” Rock
poke earnestly to his dog, “we’ve no
/orries.” Flicking on the FM set, he
lined in on some music.
Usually, Rock shaves and bathes with
ie radio blaring. This morning he regu-
ited to moderate and went to brew him-
;lf some coffee. No need for efficiency
lis morning, he had a late call to the
?t — a rare ten o’clock scheduling.
Double-checking his appointment cal-
ndar brought good news. He had only
tie shot today, which meant he’d have
ie afternoon free for furniture shopping,
hat is, after the interview set up by
le publicity department for lunch. In-
rviews always give Rock a momentary
epression; he still feels a little uneasy
aring them.
An hour later, Rock drove his yellow
incoln convertible onto the back lot
Universal-International, snapped off
le ignition and the radio, paused to jot
Dwn a few records he wanted to buy
t the note pad on the dashboard. He
ade his way to his new dressing room,
here fifteen minutes later, groaning
ider a fleece-lined mackintosh, heavy
low boots and woodsman’s cap, he ex-
ed into the bright, hot California sun-
line.
The day was prematurely warm for
ring, but the “All That Heaven Allows”
impany was scheduled to work in the
now.” In camera range, Jane Wyman,
a long clipped beaver coat, boots mit-
ns and hood, was picking her way down
1 “icy” street. Rock grinned sympa-
etically at her and presented himself
director Douglas Sirk.
“Be another half an hour before we
■ed you,” he was told.
“Good,” grinned Rock, stripping off his
■avy overclothes. “I’ll have a snooze.”
ad feeling lazy in the warm sun, he
retched out on the grass in the grateful
ade of a spreading tree.
But no snooze.
Just when he was getting comfortable,
electrician came by to remind Rock
his promise to autograph a half-dozen
rtraits for his nieces and nephews back
Italy. Publicity had sent down the
otos at Rock’s prodding. He borrowed
clip board from the script girl and a
n from a visiting newspaperman and
liged.
The company’s still photographer moved
next. He’d have a great shot, he begged
Rock would pose running the snow
nchine. The machine was used to turn
$b California summer-like grove into a
f'ntry New England by spraying white
dap bubbles — snow — movie version.
Climbing back into his winter garb,
lick sweated in the heat and glare of
via white spray as he had his picture
icen making snow — several pictures.
■ \t last, shooting over, he stripped back
jit his shirt and slacks, stretched out
i cain in the shade. A front-office limou-
£ e drove up and disgorged a party of
iidio visitors who had come from Aus-
■t.lia. An intermediary made it clear
«f Rock they’d just love to have their
tures taken with U-I’s fastest rising,
1, dark and handsome star. Rock posed
tciously. He smiled and shook hands,
autographed. He escaped finally — just
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117
in time to be tapped on the shoulder by
the publicity representative with the lady
interviewer in tow. It was twelve o’clock.
He had toiled not, neither had he snoozed.
That he didn’t snarl speaks eloquently
for Rock Hudson’s native good humor
and remarkably stable personality.
“Sit down,” he smiled, clambering to
his feet again. “No, not on the ground.
I’ll grab a chair.”
“Ground rules established?” he asked.
“Uh-huh.”
That meant that no questions were
to be asked — at least not answered — about
any present romantic interest in Rock s
life.
So he would talk about his new house.
“It’s a Pennsylvania Dutch farmhouse —
barn red. Not very big, just thirteen
hundred square feet — but lots of charm.
And we have ideas. . . .”
“We?”
“Moved in yesterday,” Rock went on
hurriedly. “No refrigerator. No stove.
No chairs except a few garden things,
so of course we had to have a party.
“Meant just to unpack. And then we
opened up a carton of records, and de-
cided we might as well have some music
while we worked. And then it seemed
a good idea to build a fire in the fire-
place, and after that it seemed to be a
good idea to have a snack — and suddenly
it was 3:30 in the morning and we hadn’t
unpacked a thing.”
“Who’s we?”
“Off-side,” Rock said, gently but very
firmly.
His clamming up on the subjects of
ladies and love, of course, only made
the subject more intriguing. Rock’s had
girl friends before, and talked about them
in print, and they’ve talked about him.
“Uh-huh,” he says, “you can talk a
thing to death that way.”
But not this time, readers. If Holly-
wood’s most eligible bachelor is about
to take unto himself a wife, you’ll know
it when it appears in the vital statistics
columns in the papers. If Rock has his
way, that is.
Director Douglas Sirk called him for
the shot at this point, and, grinning, Rock
made a grateful getaway.
When the lunch whistle blew it was
time for a hair-raising ride in Rock’s
yellow convertible through the winding
little streets which honeycomb the stu-
dio’s back lot to wind up unharmed —
he’s a good driver, if a daredevil — in
front of his dressing room.
If he had to have a fancy lunch with
the ladies, he had to have a shower.
His “dressing room,” finished for him
recently by a studio grateful for his tre-
mendous upsurge with fans and ticket
buyers, would do very nicely, thank you,
as house and home. The spacious living
room in modern decor is dominated by
a monster sailfish hooked by Rock on one
of his recent excursions to Acapulco.
The rest of the set-up includes an office,
kitchen, wardrobe room and bath.
Rock’s first move was to the refrigera-
tor where he extracted a bottle of chilled
water and drained two giant glasses full.
“Man, it’s good” he sighed appreciatively.
“There’s nothing like ice water.”
Unless it’s music. Five long steps took
him back across the living room where
he turned on his radio to an FM station.
His guests could enjoy the music while
he scrubbed up.
After a moment, he could be heard
singing in the shower. This man, it
seems, must have music wherever he
goes. He collects every kind of music —
with perhaps the least enthusiasm for
jazz. His studio bungalow and his new
house are overflowing with albums —
classical, folk music and popular ballads.
He also collects, as it turned out, res-
taurants. We would lunch, he announced,
emerging crisp and clean from the
shower, at Le Petit Trianon, “a little
French place, very authentic. The food
is great, and they’ll take me like this.”
This meaning in faded blue jeans, plaid
cotton shirt and no tie.
Rock has been digging out little au-
thentic restaurants as a hobby since he
came home from his first trip to Europe
— and first taste of exotic cooking — a year
ago.
Rock’s girl friends — or friend, if the
rumors are true — who used to pick up
the phone to hear him say, “How would
you like to run down to the record store
with me and pick out a few new rec-
ords,” are more likely today to have to
keep in shape for an invitation to “try
a little Italian restaurant I’ve discovered.”
Restaurant collectors will have to take
Rock’s word on Le Petit Trianon. It was
closed. But Scandia, up Sunset Boule-
vard a few blocks, would have Rock and
his guests, and with no remarks, as it
turned out, about his informal attire.
There’s nothing like ice water, or mu-
sic or quaint restaurants to steam up
Rock Hudson’s enthusiasm, it was next
made clear — unless it’s food.
It was almost three o’clock in the after-
noon by then and he was famished. First
a heavy split pea soup — with Rye Crisp
and three pats of butter.
“Butter is fattening, but the Rye Crisp
are thinning. You come out even.”
Then a cheese souffle with a rasher of
bacon, hot rolls with three more pats of
butter, and — at last — coffee!
Rock felt better.
Lounging back comfortably in the up-
holstered booth, his long legs stretched
comfortably out into the aisle, he looked
directly at his inquisitor and asked a
question of his own.
“How old are you?”
He got his answer, no ground rules
having been established for such an
emergency.
“Good,” he said. “Now I can relax. It’s
a little test I always make. If I ask a
lady her age and she says it’s none of
my business, I know I have to be care-
ful. If she tells the truth, then I know
she’ll level with me all along the line.
So what do you want to know?”
“Are you going to marry?”
“It’s getting stuffy in here,” Rock re-
Rock Hudson urges you to strike back
at cancer, by joining the 1955 Cancer
Crusade. Send your donation to Can-
cer, care of your local post office
plied. “Want to see my new house
To reach Rock’s place, you drive i
practically straight up, from Sunset, mas
a half-dozen hairpin turns which, wi
Rock at the wheel, is an adventure, a
there it is, a quaint red house perched i
a precarious hillside and practically co
cealed by a grove of ancient spruce tre<
It’s a little house, but expandable. .
present, it has only the big living roo
kitchen, two small bedrooms and o
bath, but it has room for a pool in fro
and a delightfully private redwood te
race off the larger bedroom. There 1
a horde of charming extras. Rock’s f
vorite is the built-in brick barbecue
the kitchen.
“I’m going to have a copper stove
Rock declared. “And a fourteen-fci
copper ice box. Fourteen feet! Hey, isi
that an awful lot of ice box?”
Rock’s mother was there that afte
noon, unpacking dishes and provend
against the day when the kitchen wou
be practical, and came forth with phot
graphs of the stove and ice box Ro<
had ordered. The “kitchen man” had ju
left.
Definitely no decorator would work i
his house. Rock made that clear. I
would do his decorating himself.
“A house done by a professional dec
rator can be the prettiest house you ev
saw and still, for my money, look lil
a department-store window.
“I want a few things that don’t f
Then everybody’ll know it’s mine.”
At the moment, Rock leans toward tl
old English period. True, Early Americ:
would come closer to the vintage of tl
house itself, but Rock thinks, “Ear
American has had it. I don’t like to 1
conventional.”
He was going shopping later that d;
for a deep-piled, rust-colored carpet, tl
starting-off point for the living rooi
And he had an idea for a round dini)
table, which would expand with circul
leaves. Maybe a friend of his, a furnitu
craftsman, “could work it out.”
“And I’ll have to have a desk. Got
have a drawer to lose things in.”
And “I’d like a baby grand piano,” 1
said, almost wistfully, “if I could get
financed.”
He added immediately, knowing he
strange such talk sounds coming fro
a top motion-picture star, “I’m workii
steady, but don’t get the idea I’m riel
The real-estate man had scoffed ju
a few days before when Rock told hi
his asking price for the house was mo
than Rock could afford. Mr. Hudson ol
viously had fallen in love with the plac
Why should he haggle?
“If 1 had your money,” the realtor h:
said huffily.
“Huh,” snorted Rock, remembering, “1
probably could buy and sell me.”
Still and all, for a guy who was drivii.
a truck for a living six years and twent;
nine pictures ago, he is doing all rigl
and Rock, rich or not, would be the fix
to admit it.
It may be a while before he can ha’
the baby grand, but he can always fi
back on his old upright player piai
with the five hundred rolls of music th
go with it. An evening at Rock’s hou
is a party with that combination ev<
when there’s no furniture and — as yet
no food.
“We’re going to make the garage in
the pool house — after we get the poo)
There’s that “we” again.
“My dog, Tucker,” Rock explains, smi
ing blandly, “and me, and the neighbo:
hood cats.”
Okay, Rock, have it your way. B’
invite us to the wedding.
The End
wl
Ann Blyth's Love Bank
(Continued from page 69)
idditional wedding gifts that had come;
checked in with the studio and the hos-
pital and called our relatives and friends,
i hen wrote a few urgent thank-you notes
md answered some pressing invitations —
finally, at midnight, we tumbled into bed,
ixhausted.”
Ann slept with the concentration of an
lonest rock when she was sent, suddenly,
pinning into upright wakefulness by the
ixplosion of the telephone. Dr. Jim, gifted
vith wonderful coordination and general
amiliarity with having his teeth rattled
m a twenty-four-hour basis — answered at
jince. A patient announced that she was
positive the stork was about to catch her.
Dr. Jim asked a series of questions, sug-
gested that she return to bed. Everything
was all right, he assured her; she was not
0 worry and if there were any further
levelopments to call him back.
He hung up, burrowed into his pillow
ind ten seconds later was breathing regu-
arly in the manner of a happily sleeping
nan with a healthy conscience.
Mrs. Jim lay quivering in her bed, wor-
ding about the expectant mother, about
he possibility of Dr. Jim’s having to get
ip and make a mad rush to her bedside,
ibout whether he would make it in time.
To some people, awakening in the mid-
lie of the night is filled with a thousand
tameless anxieties and horrors. Ann has
ilways been one of those people. She has
i ried to conquer the trouble, blaming it
in some forgotten childhood experience
vhich a sensible adult should outgrow.
At last she talked herself into a state of
aim and was floating through the first
i louds of unconsciousness when — cllllang
-there went the telephone again. A glance
it her new luminous clock indicated that
eventy minutes had elapsed since the
irevious call.
Dr. Jim answered again, again placated
lis patient, again asked a series of ques-
ions. “No,” he said in his reassuring voice.
You have plenty of time, yet. Relax, take
glass of warm milk and get some sleep.”
Well, this business went on hourly until
)r. Jim left for the hospital to meet his
latient at 6 a.m. (Incidentally, at nine that
vening, Dr. Jim telephoned Ann to an-
lounce the arrival of the patient’s first
on, nine pounds, nine ounces.)
A single such isolated night would soon
eem funny in retrospect, but the life of
i doctor’s wife is made up of many such
. lights.
“During those first few months I was
ired all the time,” remembers Ann. “I
vas sleepy during the day, but at night I
ouldn’t sleep.”
Late that summer Ann had to go on
Ocation for “Rose Marie.” While there, she
iscovered that, although the mountain
I lights at Mammoth Lakes were devoid of
ielephone jangles, she still awakened peri-
dically. The difference was that she was
ble to convince herself that nothing cata-
< trophic had happened and could return
nmediately to sleep. Apparently antici-
pation of the next ringing of the telephone
i /as as much to blame for her restlessness
t home as the actual disturbances. When
1 he returned home she talked this prob-
D 2m over with Dr. Jim, who gave her some
3 elpful hints.
He explained that a doctor sleeps in
ulps, deeply, and probably gets more rest
1 that way than a sleeper who tosses and
"urns for eight or nine hours. He added
hat each night call had to be regarded as
jnusual and not to be repeated within an
ilour or two. “Don’t let yourself think,
Ip 'low I’m going to have a terrible time
.etting back to sleep.’ Remember that
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119
sleep is deepest during the first hour or
two after you’ve fallen off to sleep, so
think, ‘Now I’m going to relax into another
wonderful hour or two of rest.’ ”
Dr. Jim also had something to say about
fretting in general. “If you really want to
tie yourself in knots, start thinking about
all the heartbreaking things in this world
that you, personally, can’t change, that you
can’t even improve. That will fix your sleep
for years.” He added certain comforting
comments on the snugness of their home
and the devotion that lived within it.
All of this was Dr. Jim’s contribution to
the seasoning of a doctor’s wife and the
adjustment within a doctor’s home. It was
made possible because she had the cour-
age to discuss her problem.
Ann’s contribution to the partnership, in
this particular instance, took two forms.
First of all, she determinedly followed Dr.
Jim’s suggestions and found that they
worked. More important, she found a way
in which she could become as much a part
of his work as possible.
Ann established what she calls “Our
Quiet Hour.” During each day, she and
Dr. Jim take whatever moments are pos-
sible in the midst of their bustling life to
shut out the rest of the world. Usually this
pause in the day’s occupation comes com-
fortably around the dinner hour. Each dis-
cusses the happenings of the day so that
the other knows what victories or vexa-
tions have occurred.
Ann says, “In that way I began to know
something about Jim’s work and he began
to know about mine. Nowadays, if some-
thing has gone wrong for either of us, the
other knows exactly what. It seems to me
that many family difficulties are caused by
the silences into which certain people re-
treat when things get too hectic. Anyone
living with such a person might think that
he had made some big mistake, and having
searched his conscience and found it clear,
might become silent and accusatory, too.”
The in-law problem gets a mild-to-
major airing almost every time a divorce
case comes to trial. Ann believes that one
of the best possible investments two people
can make in their matrimonial future is to
come to an understanding about in-law
problems before they make appearance.
Luckily, Ann’s wonderful aunt and uncle
made warm friends of the McNulty clan at
once. However, feelings can always be
hurt — usually over minor circumstances —
so Ann felt that advance arrangements
would spare everyone. One year. Thanks-
giving dinner is enjoyed with Ann’s people;
the next year it’s shared with the Mc-
Nulty’s. Ann and Dr. Jim spent Christmas
of 1953 with the McNultys, then dropoed in
to see her relatives in the evening. Christ-
mas of 1954 was spent with Ann’s kinfolk
and an evening call was paid on the Mc-
Nulty clan.
Naturally, Ann is imbued with clan
spirit, yet with a wisdom that penetrates
more deeply than an emotional bias toward
the Irish. She believes that every bride
should get to know her husband’s people
well. After all, the qualities she admires
in her husband were inherited from or
taught by his family. Ann refuses to find
it remarkable that she has become a Mc-
Nulty in spirit as well as in name “because
they are such wonderful people,” but this
has been part of her marriage investment.
Those who know both Ann and the Mc-
Nultys say that it would have been easy
for a bride to be jealous of the devotion
of the McNultys and to seek to place an
unspoken but determined barrier between
her husband and his relatives.
Another girl might not have become a
p sister in affection, as well as in law, with
the other McNulty wives, and she might
not have made it her business to keep Dr.
Jim’s parents informed of the small but
120
preciously important daily happenings in
their son’s life.
The chief reason given for the recent
bust-up of a widely known Hollywood
couple was social incompatibility. He was
bored by her friends; she had nothing in
common with his. He found her profes-
sional social life artificial; she found his
so single-track that anyone outside his
profession was made to feel as lost as an
Eskimo on the Congo.
Early in her own marriage Ann became,
when with her husband’s friends, the per-
son she most loves to be: a doctor’s wife.
Naturally she met the wives of medical men
and those in allied callings and she found
their conversation fresh and diverting after
the theatrical talk with which she was
familiar. She added a new dimension to
her vocabulary and her viewpoint.
Ann found that, “I’m stimulated by talk-
ing to girls who don’t know much more
about motion pictures than what is playing
at Grauman’s Chinese. However they do
know classical music, classical and modern
literature and most of them are talented
mothers and home managers.”
She has integrated herself so well with
the medico-social group in Los Angeles
that informal society columnists refer to
the McNultys as “Ann and Dr. Jim” with-
out adding, behind Ann’s name the fame-
distinguishing surname (Blyth) in the
usual parentheses.
Inevitably there came a day when the
McNultys were invited to two dinner par-
ties scheduled for the same evening. One
invitation came from a motion-picture
couDle whose bids represent a command
performance to many a young actress. The
second invitation came from one of Dr.
Jim’s best friends. Ann weighed the situa-
tion. Normally she discusses all social
activities with Dr. Jim in advance and,
together, they decide upon the best course
to follow. However, if she should discuss
this particular instance with him, he would
point out that one party was important,
the other would be a fun fest with friends
who could be seen at another time. Yet,
Ann thought, Dr. Jim hadn’t been in touch
with these friends for months because of
pressures both upon him and upon the
friends. A long time might pass before an-
other opportunity would present itself.
Without making anything of it when she
told her husband about the dual invita-
tions, Ann wrote a sincere note of regret
to the motion-picture hostess and accepted
the invitation from Dr. Jim’s friends.
“It wasn’t anything, really,” Ann told a
close friend. “Just a very small investment
in our partnership. The time may come
when I won’t be able to make a choice. I’ll
simply have to do what my profession
makes necessary but when that time comes,
Jim will understand.”
On another occasion Ann had accepted
an invitation to one of those cellophane-
tent and Hawaiian-torch parties and had
invested in a new dress for the occasion.
However, as the party night drew near.
Dr. Jim was almost worked into an ulcer.
One of the doctors in his group was ill,
so Dr. Jim had to take over his duties.
The second doctor had to make an out-of-
town trip and an emergency arose in his
practice which Dr. Jim had to meet. The
stork, mischievous as usual, put on a
population drive to take up any spare
moment in which Dr. Jim might have
tried to catch his breath.
On the morning of the gala, Ann waved
her doctor off to the iodine wars. She
noted the droop of his broad young shoul-
ders, usually so square, and she heard the
tired tempo of his stride, usually so brisk.
She went directly to the telephone and
explained Dr. Jim’s heavy duties to the
evening’s hostess and asked to be excused.
“I know it’s going to be the party of the
season, and I hate to miss it, but I’m con#
vinced that Jim isn’t equal to it,” she saiqf
“And you’re right to consider him first®
agreed the hostess, who has been marrie m
over thirty years.
When Dr. Jim came home that night anil
asked if he would have time to grab il
quick nap before showering and dressin *
for dinner, Ann told him what she ha
done. His grateful grin was more satisfy
ing than a dozen dazzling dinner partie
Such incidents represent large invest '
ments in married happiness, but Ann be
lieves also in depositing pennies.
Shortly after she and Dr. Jim were mar:«
ried, Ann dressed for dinner and th
theatre one evening, then sought Dr. Jim; l
approval.
“You look beautiful — as always — but «
was just wondering. Are you particularl
fond of that shade of brown?” he wante ’t
to know.
Ann said she had bought the dress fo -
its lines and practicality, hadn’t though ■
much about the color. She had alway ^
worn a great deal of brown, she added. *
“Well, maybe red — or a clear greer 1
or . . .” suggested the typical man, tryin •
to compress into words a nebulous feelinj «
That ended the discussion, but An:
eliminated that shade of brown from he
wardrobe.
Advertising has successfully planted th :
idea in the minds of men that women lov
gifts at any time, for any reason. Come i
now Ann McNulty with the good wor -
that men, too, appreciate tokens of af 1
fection. “I don’t agree with girls who moa <
that men are impossible to buy for.”
To prove her theory, Ann breezed throug] :
her Christmas shopping last winter with
minimum of effort and a maximum cl
appreciation, not only on Christmas morn
ing, but during the months that have fol
lowed. On her list for Dr. Jim were sua
items as a cashmere sport coat, a plait
flannel bathrobe, a valet bag for automo
bile trips, a tinted portrait of herself an<
young Tim and various sets of cuff link:
As for Dr. Jim, he’s no cube in the gil
department; he still marks every montl ;
an anniversary with a present. Sometime
it’s a flacon of perfume for Ann’s purs<
sometimes a monogrammed handkerchie:
a corsage, a scarf or nylons. Ann can al
ways count on the remembrance being th
right size, color or fragrance, evidencin;
that Dr. Jim has given it much though
which is the chief message of any gift.
Ann believes that another vital invest
ment in married futures is the extra-larg J
family-size dream. She and Dr. Jim hav i
several. For one thing, both love Ne\ '
Yor^ but have never been there togethei I
In off moments they discuss “riding a car 5
riage through Central Park, taking th
ferry to Staten Island, visiting the Statu I
of Liberty, window-shopping on Fifti 1
Avenue — you know, all the touristy thing i
that are wonderful when two people ar
in love.”
They plan, one day, to make trips to th
Bahamas and to Rome, and — because Di
Jim was in the Pacific during World Wa
II — he wants to take Ann to see some o
the fascinating lands of the Orient.
Of course, the greatest of all investment
in marriage is represented by a chubb;
gentleman named Timothy Patrick Me
Nulty who will be a year old on June 1(
1255. According to Ann he is merely th'
healthiest, cutest, smartest, brightest, hap
piest. . .
The meaning of these superlatives cai
be compressed into one brief statement o
fact: Ann Blyth’s bank book may not shoy
that she’s a millionaire, but her romanti'
resources are beyond count. She has beei
banking on love and her dividends in hap-
piness are assured.
The End
He Became a Star
(Continued from page 63)
ahead, I felt that maybe I’d have a chance,
during those lonely, frustrating months, to
sweat off some of the fat around my waist-
line and a little more off my big head.
“When I came back to Hollywood, I re-
turned humble and eager. I was anxious
to take any part offered me, no matter how
small it was, no matter how unimportant.
All I hoped for was that I might be able
to stick around so I could learn enough to
be worth something — someday. I knuckled
down to work. For a long time it was all
work and no play, but it was worth the
effort; it paid off.”
Dick’s efforts paid off well. In “Under-
water!” he has his first real bid for star-
dom, his first big opportunity to show what
he can really do. Fantastic as it seems —
considering Dick’s six feet two of rugged
masculinity, his thick brown hair, his deep
blue eyes, superb speaking voice and strong
rugged features — “Underwater!” is Dick’s
twenty-first picture. Yet so crazy a place
is Hollywood that nobody discovered him
until he took off his shirt.
It was as the leading loin-clothed gladia-
tor in “Demetrius and the Gladiators” that
Dick made this important exposure of his
talent and started a new trend in his
career, one that accents his physical
prowess. As a result, the mail immediately
poured in on him and he got his first
straight lead in “Wicked Woman.” “Wicked
Woman” did no great shakes at the box-
office but it wasn’t because of Dick. His
talents were recognized and he went into
“Gog,” then into the lead in “Khyber Patrol”
with Dawn Addams. When Bob Mitchum
decided not to go into “Underwater!” with
Jane Russell, Dick was tapped for it. He
got the male lead as Jane Russell’s hus-
band, which he didn’t find hard to take.
At the end of the first two weeks of
shooting on “Underwater!” the whisper
was already around Hollywood on him, and
20th Century-Fox got him on the dotted
line, with plans that are super-Cinema-
Scope collosal. Now all the carefully con-
trived machinery of Hollywood fame is
being geared for him, the interviews, the
photographs, the picture layouts, the trips
here and there to meet fans and influence
audiences. In this capacity, Dick should
have no trouble; he’s been influencing peo-
ple ever since he was born in San Fran-
cisco, July 29, 1921.
As a youngster Dick went to Jefferson
Grammar School and St. Ignatius Prep in
San Francisco. It was while attending Jef-
ferson that he got his first theatrical role
(“the traveling salesman from America in
‘The Windmills of Holland’”). He im-
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121
pressed his teacher, Dorothy Bailly, so
very much that she encouraged Dick to
pursue his newfound interest. In fact, to-
day, Dick looks back on Miss Bailly “as
the one who launched my career.”
Dick’s second big role was in an oratori-
cal contest sponsored by the California
Crusaders to promote American citizenship.
He was seventeen and one of 15,000 con-
testants. With his distinctive speaking
voice and poise, Dick won hands down (“I
wasn’t impressed, I just thought that’s the
way it would be”).
Thinking back on this today, Dick wishes,
“If you were only smarter in your teens
so you could send yourself a warning sig-
nal when things are won too easily. It’s
a shame you don’t realize then when things
are easy. Instead, you just sort of think
that every miraculous thing that happens
to you is merely your due.
“I remember thinking that I knew every
last word on the subject of citizenship. I
wasn’t a bit surprised when they an-
nounced I was better than fourteen thou-
sand, nine hundred and ninety-nine other
contestants. The Chief Justice of the State
Supreme Court addressed us at the finals
and I remember thinking, he’s pretty good,
too. As a prize, I won a trip to Honolulu
and elegantly (so I thought) consented to
take my mother along. From that moment
on, the ham really boiled in me.
“At St. Ignatius I started my drama
studies, and at the time, in my humble
opinion, I was as good as Edwin Booth. By
the time I went to the University of San
Francisco to continue my drama studies
and major in English, I was my own Lau-
rence Olivier. My whole life was bound up
with the theatre. And it was not until 1942,
when I graduated from college, that I did
the first thing in fifteen years that didn’t
involve the theatre. I enlisted in the Army
— despite a strong inclination to believe I
was heaven’s gift to the American drama.
After doing a four-year bit, I was dis-
charged.”
What Rich never points out is that he
went into the Army a private, served in
the Philippines and emerged a captain — and
a judo expert. This is part of his modesty
— an attitude that he has had to learn the
hard way. Dick’s now modest about every-
thing, like the fact that he has his M.A. in
theatre history and dramatic literature, and
there aren’t too many actors around Holly-
wood with such a sheepskin lining the
wall; the fact that he’s taught speech at
the University of San Francisco and is
just as familiarly acquainted with Sten-
dahl and Shakespeare as he is with Stein-
beck and Shellabarger. About these things,
Rich feels he has too much more to learn
to worry about what he’s already mastered.
Such feelings, he says, are the result of his
experiences after the war.
“When I got out of the service, Solly
Biano, Warners’ talent scout, saw me at
Stanford where I was working on my mas-
ter’s and acting, and he paged me. I thought
this was merely very smart of Hollywood.
After all, in college I had played Othello ,
Lennie in ‘Of Mice and Men,’ Buckingham
in ‘Richard III,’ and many other roles.
There was no place for me to go but
straight to Hollywood.
“I came down from San Francisco with
assurance and no worry about my screen
test. -When I arrived, Warners was in a
layoff, this was back in ’forty -nine, and
the test was canceled. But M-G-M was
offered the opportunity to test me and
they did.
“I gave out for M-G-M with a scene that
would have stumped Spencer Tracy. Not
that knowing this would have stopped me
if anybody had pointed it out. I was Egan.
Who was Tracy? The ham really boiled in
me.
“Well, the results of the test were so
good that M-G-M didn’t even bother to
say they’d call me. They just said No.
Later, with Solly’s influence, I got tested
at U-I, than at 20th, finally at Warners.
There was no doubt about my talent — all
three studios said No.
“I’ll never in my whole life forget the
disappointment, the letdown and bewilder-
ment I felt. The first harsh shock was
painful, but I had enough energy to feel
that the studios could be wrong, I still had
that much confidence. But as the weeks
dragged by, I had to face the awful truth —
for the first time in my life, it occurred
to me that I might not be as good as I
thought I was. It’s a tough blow to take.
You kind of get used to considering your-
self in one way; it's difficult to think you
might have been kidding yourself.
“Everything seemed to come to an end
at once and I had nothing to do but go
back home — which in the long run was the
best thing I could have done. I went back
and talked to my brother Willis, who is a
Jesuit priest. Willis has been a big influ-
ence in my life and I’ve always admired
and respected him. If he’d told me to quit
acting, I think I would have done it. In-
stead, he told me to go back and do some-
thing about it. To study and prepare more.
I came back to Hollywood to try again.
I just couldn’t accept a No; I had to find
out why.
“In time I was able to analyze my prob-
lem. In studying drama, one tries always
DON'T MISS
the interesting pictures and stories
the BEST STARS
and PROGRAMS of
1954-1955
as selected by a
NATIONWIDE VOTE
of the readers of
TV RADIO MIRROR
All in the Special Awards Issue
P MAY TV RADIO MIRROR
now on sale at all newsstands
::
■
:
■
to be aware of the author's concept of the
character, to interpret what kind of person-
ality the author intended and from this
create the personality through acting
Every part I played I tried to recreate the
character as I believed the author intended
As a result, in all the screen tests, the
Egan personality never came through—
which is just what I thought I was sup-
posed to do. Instead I just became part o
the play’s props. I soon began to realize
that motion pictures are a completely dif-
ferent medium and the actor in this me-
dium has to project his own personalit;
and play the role from his own personal-
ity, like John Wayne, Robert Mitchum anc
Cary Grant do. This was of enormous help
“After returning to Hollywood, I took ;
small apartment. I didn’t know a soul. No
only was I unable to get to see a casting
director, but I couldn’t even get an agent
I lived on checks from home, which wa:
very humiliating. I suppose I was liks
thousands of other guys in Hollywood, bu
that didn’t make the taking any easier. 'J
just sat there by the phone, afraid to g<
out for fear it might ring and I’d miss ar
opportunity. Weeks went by, and I’m no
ashamed to admit that there were night:
when for sheer loneliness and homesick-
ness I sat by that phone and cried.
“Then Solly Biano, my original guardiar
angel, did call and without a test put m<
in ‘The Return of the Frontiersman.’ I
was little more than a bit. I’m sure
wasn’t much good in it — but I got some-
thing worth a fortune from that picture.
“Because I saw what it was to be a pro
I saw what it was to walk in, cold, on
-set, and to be ready: to know your lines
to project your personality. And I sav
that integrity was the integrity of actin;
and of your own personality.
“That was the beginning. I graduall;
got into other things. They were al
quickies and I rarely played anything tha
held the camera more than a few minute
— but I was learning.
“And gradually people were wonderfu
to me. Crawford helped me tremendous!
that second picture. A good agent final];
agreed to handle me. And three years t
the day from the time M-G-M turned m
down, they sent me to Europe for ‘Devi
Makes Three.’ The trip was great.
“When the day came that my mothe
and father agreed to come down here am
keep house for me — the wonderful revers
of my taking those checks from them-
and then when I secured my 20th contraci
as the result of this picture, ‘Underwater!
well . . .” He spread his big hands am
grinned.
There’s nothing lacking in Dick’s won
derful life but a girl.
Not too many people know there was
girl very important in Rich's life since he
been in Hollywood — but it couldn’t wor
out, he being the devout Catholic he is, an
she being divorced.
And currently, though you’d never gt
him to mention it, it makes him uncomfort
able to be in the Hollywood “unattachec
eligible male” position he is, so that hi
telephone rings day and night. He’d like t
do his own pursuing.
Besides, with his parents anticipating hi
every wish for comfort, he has as muc
domestic life as he likes. And what he i
in love with, for the time being anyhov
is his career. He never swam in a seriov
way until he was cast for “Underwater
whereupon he took lessons for two hours
day for two months. It was the same wit
riding. “Khyber Patrol” made that neces
sary, so he rode five hours a day for
month, getting readj .
Nevertheless, he gets quite a gleam in h:
eye around small, blond girls. Or tall, bru
nette ones. Or just girls.
And as for the girls around him — brothe:
The End
■:
I
-
ii
ill
a
Jo’,
!
Getting in Step for Marriage
( Continued, from page 43)
I finally decided to buy a lot and build.
All the English-style houses we saw were
so big — five and six bedrooms and baths.
And we couldn’t find any house with
nearly enough closet space either.
“I’ve always dreamed of having enough
closet space. I have lots of clothes — they’re
part of my work and I’ve always thought,
what a heavenly day when I can have
everything in place.
“And Eddie — has he got clothes! He
needs so many changes for his work. But
he isn’t as hipped on closet space as I am.
What he dreams of are plenty of bath-
rooms. He recently bought his mother a
house that has four. That’s because when
he was a youngster there were seven kids
that had to get ready for school and there
was only one bathroom. I suppose he’ll
ask the architect to squeeze in as many
as possible in the plans. Well, some people
collect stamps or coins!
“You know, a girl who thinks she’s all
grown-up and pretty sensible in general
can make serious mistakes when it comes
to this marriage business.” Debbie sat bolt
upright and assumed the yoga position,
I knees pulled up under her. “Mom always
taught me to work out my own problems
and make my own career decisions. I
have seven years of movie work behind
me,” she explained, “and I’ve never re-
gretted a contract or business arrangement
I’ve made. But I’ve only been in love a
I short time and . . .”
While Eddie was in New York it seems
Debbie saw a house and immediately de-
cided it “was the most.” It was a 14-room
English house, next door to where Alan
Ladd’s daughter Carol and Dick Ander-
son were building. Debbie felt it was a
real bargain and she begged the owners
not to sell until Eddie could come out to
see it.
When Eddie saw it, all he could say
was. “We don’t plan to take in boarders.”
And then seriously, he pointed out, too,
that the house needed extensive repairs
as well as a staff to maintain.
“I realized I’d made a mistake,” Debbie
admitted, candidly. “Eddie and I would
never have found each other in that house,
and it taught me that one shouldn’t make
snap decisions on important things. We
plan to live in our house a long time and
we want it right, a place to bring up our
children.
“Earlier, I'd almost made another mis-
take, too — one that I’m sure I’d have been
sorry about forever after. When Eddie
told me he wanted to buy me an engage-
ment ring, I suddenly got very practical
and suggested that he use the money as
a down payment on our house instead.
Eddie is wiser than I am and he knew
there is a place for sentiment and a place
for practicality, so he didn’t pay any at-
1 tention to my suggestion and bought my
ring. Honestly, when he put it on my
finger while I was broiling steaks out by
the pool, instead of beaming with happi-
ness, I burst into tears and ran into my
bedroom crying. Eddie followed, looking
bewildered and hurt. Then I explained
how happy I was and how glad I was
that he didn’t listen to me. I’m real senti-
mental, and it suddenly came over me how
I'd hate to have missed that wonderful
moment.
“When I thought over those two bad
decisions it really gave me a shock — set
me thinking. When you get engaged there
are so many new things to straighten out
in your mind — things a girl never bothers
:to consider — like planning a house or buy-
ing furniture. Before, all you had to de-
aide was whether to buy this scarf or belt
or have a strawberry or chocolate malted.
“‘Am I mature enough for marriage?’
I’ve asked myself plenty of times. Some-
times I’m a little scared. When I talked
about this with Mother, she smiled and said
all girls feel like that when suddenly con-
fronted with marriage.”
Like many girls, face to face with the
most important step in adult life, Debbie
knows that successful marriage is not
something that just happens full-blown
to a young person with a romantic im-
pulse. Marriage is a partnership, a crea-
tive achievement, out of which you get
only what you’ve put into it. It demands
effort, sound knowledge and advance
planning.
The coming of her first real love has
indeed changed Debbie. And it’s not
merely that her face shines these days.
Love has given her a thoughtful, softer,
more pondering quality, lessened her quick
laughter and given her greater depth and
understanding — an emerging maturity. In
a few short months she has leapt the con-
siderable distance from girlhood into
womanhood.
Those who knew Debbie in the “pre-
Eddie” period can certainly see the change.
Formerly a merry madcap, a junior-grade
Betty Hutton who made with the jive talk,
today Debbie is a more gentle, more seri-
ous girl who, if at all possible, lives even
less now by the glamour standards of the
town and more by her own forthright
sense of values — the ones her mother in-
stilled in her. Most girls who have made
good in the movies grow away from their
home community. The reverse is true of
Debbie; she invited her neighbors in Bur-
bank to the star-studded engagement party
given her and Eddie by Eddie Cantor.
“When a girl becomes engaged,” Debbie
explains, “at first she’s in a kind of unreal
whirlwind, full of the fun and excitement
of planning a wedding, going to parties and
showers. Her time is spent in talking about
such romantic things as where to spend
the honeymoon and planning the home and
her trousseau. Then suddenly you find
there’s another kind of trousseau, too — a
mental one. And if you hope to be a con-
scientious wife, it requires taking stock be-
fore one marries. If a good marriage were
simple — something that just comes natu-
rally, there would be no need for pre-
marriage courses and for marital coun-
sellors.”
Naturally Debbie knows that all life is,
in a sense, a preparation — good or bad —
for marriage. She couldn’t wish for any
couple to have a better marriage than that
of her parents. So, having grown up in
the warmth and love of a happy home,
Debbie feels she’s predisposed to follow
in the same secure pattern. Eddie, on the
other hand, is the son of divorced parents
(his mother has remarried) and for him
there might be a different type of adjust-
ment.
The engagement period is the time for
adjusting, for becoming better acquainted,
for resolving inevitable differences of opin-
ion on important matters, such as the hus-
band’s right to a comfortable, well-run
home; the question of budgets and money;
getting along with in-laws; plans for
bringing up children. This is the time for
finding out if one is emotionally free from
parents and can be independent of them;
for exploring each other’s personality and
background; building up interests in
common; deciding whether a wife will con-
tinue to work or not; also deciding on the
length of the engagement period itself.
One of the few times that Debbie and
Eddie found themselves with a difference
of opinion was on the question of a long
or short engagement. Eddie felt, “We
know we are in love now; so why wait?
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123
Let’s get married right away.” But Debbie,
though just as deeply in love, disagreed.
In that, she was following the counsel of
marriage experts who suggest engagements
of six months to a year. For a courtship
period, rightly handled, is a virtual insur-
ance policy for successful marriage.
“Eddie and I were very busy and didn’t
have much time to be together,” Debbie
explained further. “Because of our work,
at first, our dates were far apart. I felt
I really needed more time to find out if
we were really in love. I wanted to be
sure I just wasn’t carried away by the
spell of Eddie’s tremendous popularity,
his wonderful voice and personality and
the fun of getting to know him. When I
knew it was love, I accepted his proposal.
Everyone was trying to rush us into an
engagement, but I felt we needed this
time to get to know each other better. I
found it also takes time to plan a wedding.
I want a traditional June one with brides-
maids, flower girls and me in a white
gown with yards and yards of veiling flow-
ers and champagne toasts and a wedding
cake. I’m sentimental and want the works!
We’ve planned the wedding for the end of
June, so we have lots of time to make the
arrangements.”
“In ‘Susan Slept Here’ I had a won-
derful line,” Debbie continued. “It was
— ‘When I get married it has to be the
biggest day of my life.’ And to make
sure of that, Eddie and I are trying to get
to know all about each other to find out
the big and little things. For instance,
Eddie was very poor as a youngster.
And every time he sees a certain shade
of light blue shirt it takes him back to
those childhood days because blue was
the color of the shirts that his mother
got from the welfare service and patched
up for him.
“And he remembers, too, when he was
about four singing away in his dad’s
grocery store in South Philadelphia. But
as soon as a customer complimented him,
he’d stop from shyness. His dad would beg
him to sing, but Eddie wouldn’t. Today
he’s still shy — and quiet and thoughtful
and easygoing. I guess opposites attract
because as Mother says, I’m a shouter.
Wouldn’t it be horrible if two people who
were both talkers like me married and
kept on talking at the same time?”
According to marriage experts one of
the subjects married people talk about
most — and disagree on — is income and how
to spend it. But for Debbie and Eddie this
won’t be a problem. As Debbie explains,
“That’s because we won’t have to budget
our money personally. We both have
business managers who know all about in-
come taxes, what we can afford for a
house, for furnishings, for living expenses
and the like. So it’s up to them to tell us
what we can spend. I know that budgeting
is kind of a dull subject for a girl in love,
that she’d rather decide whether to buy
a white chiffon negligee or shell pink nylon.
But in that mental trousseau, it’s a subject
of great importance. How to use money
may bind a couple together or be a cause
of conflict. A budget shouldn’t be thought
of as something negative, like a restric-
tion on spending, but rather as a plan for
obtaining what is important.”
Those who have followed Debbie’s career
since she was named Miss Burbank of 1948
do not fear that she will go overboard on
the subject of spending money when she
becomes Mrs. Edwin Jack Fisher. The girl
who got herself a job selling men’s shorts
at J. C. Penney’s in Burbank while she
was on layoff from Warner Brothers at the
start of her career has, in fact, a thrifty
Scotch streak and has been carefully put-
ting away surplus savings in income prop-
erty. Eddie has also carefully saved his
money, although he’s helping his family.
“No, it isn’t money that has a place in
Debbie’s mental trousseau these days.
Rather, it’s how to arrange their work
schedules so they may be together. Eddie’s
cross-country commitments kept him flit-
ting from engagement to engagement while
Debbie’s career is solidly grounded in Hol-
lywood.
“Eddie and I,” she says, “have seen too
many Hollywood marriages reach the di-
vorce courts because of just this problem.
So we’re planning to live in Hollywood six
months of the year and the rest of the
time in an apartment in New York. It’ll
be a gypsy-like life, but the important
thing is that we’re together. Eddie will
televise some of his shows from the Coast
while I appear in films. Then I”ll be free
to be with him in New York. If a film I’m
working on should run a few weeks longer
and Eddie has to be in New York, we
wouldn’t mind that separation. But
months of separation, that’s murder for any
marriage.
“I know it’s the thing for engaged
actresses to toss off, ‘I’d give up my career
in a flash if it meant being separated from
my husband.’ Personally I don’t think
that’s necessary, and I don’t intend to give
up my work — not that I think I’m God’s
gift to acting. It’s just that ever since I
was sixteen I’ve worked hard to get where
I am in films. If I didn’t love the work
I wouldn’t be in it. Just the same I feel
that it is the husband’s career that’s most
important in any family. And that if con-
cessions along this line must be made,
it’s up to a wife to make them. The trick,
though, is to work things out so that both
have to make adjustments but neither one
has to make a sacrifice.
“We know that we’re both in a demand-
ing and complicated profession that re-
quires lots of understanding on both sides.
I thought I was in a time-consuming busi-
ness with a fourteen-hour day, but Eddie’s
is worse. He has rehearsals, recordings and
performances for his tv weekly show; music
arrangers and conductors, manager, agent,
business and legal advisers to confer with.
In addition, he must devote time to song-
picking sessions, travel to publicize his
songs with disc jockeys, personal appear-
ances, benefits and press interviews. He
has a secretary to help him with fan
mail and autograph sessions for his fan
clubs. Eddie tends to overwork himself;
I want to help him all I can, to see to his
comfort and health. With a full-time
career of my own I know that I must plan
on letting someone else have charge of
housekeeping and cooking.
“About the cooking, according to
Mother, it’s probably just as well. When
I point out to her that I got two merit
badges from the Girl Scouts for cooking
she says they must have been looking the
other way when they gave them to me.
Anyway, I plan to watch Mother’s way
with enchiladas. Grandma taught her
eighty-five different ways to make them,
back in Texas, and I feel sorry for every-
body who loves enchiladas and other
spicy Mexican dishes, and who can’t sample
Mom’s. I’ve loved them for as long as I can
remember and while I learned to make
fair ones, I’d better learn how she does it.
Anyway it’s a good thing Eddie isn’t one
for pheasant under glass or duck with
flaming cherries, because I’rn more the
ham hocks and lima bean casserole type.”
The final subject that Debbie has been
pondering these excitement-filled days is
one that she refuses to consider a prob-
lem at all. And that is the matter of
religion. Eddie was confirmed at thirteen
in the Orthodox Jewish faith; Debbie has
been, from her earliest Sunday-school days,
a member of the Protestant Church of the
Nazarene, in fact, she received a white
Bible for perfect Sunday-school attend-
ance. The press has tried to raise a con
troversy concerning this difference o
religion. But Eddie and Debbie refuse ti
be drawn into it.
Both of them have strong religious back .
grounds which color their thinking abou-
standards and values and it’s unthinkabli
that religion will not play an importan
role in their marriage — as it must do in an;
really sound marriage. As a wise persoi
said, “It takes internal props to withstam
external pressures.” And the main pro]
is a profound belief in God, while the othe 1
two are idealism and a sense of humor. 0)
all three counts the crooner and his di
minutive sweetheart are well endowed. ;
Like all deeply religious people, their in
nate philosophy is expressed in giving, iij
forgetfulness of self. An example was th<
way they spent Christmas, not in a ga;
round of Hollywood parties to which the;'
were invited, but away entertaining troop;
in a lonely, snow -covered Army camp ii
Idaho.
“Ill-informed and prejudiced people,
explained Debbie, “have tried to make
religious problem for Eddie and me. Then i
isn’t any. It’s true he’s Jewish and I’n
Protestant. We’re both open-minded ane
both tolerant of every religion. We botl
have faith in God — and I think we’ve dem
onstrated that we live by it. What coult
become a problem when we both believi
in God, when we both respect each other’-
convictions? The time to worry, it seem i
to me, would be if either of us had m
religion and didn’t believe in any highe
power.
“I’ve always been deeply interested ii
how people worship. Lori Nelson and
used to attend Sunday service at differen
churches to see how others pray to Goc
And I’ve attended the high Holy Day ser
vices with Eddie and found it a beautiful
deeply-moving experience. Daddy an<;
Mother admire and approve of Eddie an<!
his parents have told me that they approv
of me. I haven’t had time yet to get tl
know all his brothers and sisters, but IV
spent lots of time with his mother and dad;
Mother and I visited back East with Eddie’:
mother; my Dad stayed with Mr. Fishe;
when he went East. Eddie’s parents ar
wonderful people, and Eddie is devoten
to them. That means a Tot to me. He, a
well as I, have always followed the com
mandment, ‘Honor thy father and mother
“There’s never been any prejudice ill
our family — either against anyone or an;
religion. I’ve been brought up to feel tha
as far as God is concerned we’re all equa
And who are we to set ourselves up a
better than anyone? We like to think tha
we’re as good as anyone, but we’ve neve
considered ourselves any better.
“People keep questioning us — ‘How will
you bring up your children?’ ‘Will yo-
have a religious ceremony at church oj
a civil ceremony at home? Or are yo
planning to elope?’ You can count o:
this: that we won’t elope, that I’ll weajj
white at the wedding and that we’ll hav
a long, leisurely honeymoon in Europe
Mother would like me to have a traditions
white wedding because she herself didn
have one. And designer Helen Rose at th
studio has promised to design my dress
We certainly plan to have children — twins
I hope. Grandma had twins and mayb
we’ll be so blessed.”
Thus does Debbie reveal the deep well c
philosophy that lies within her. Sh
knows that the wedding itself contain
no magic formula for happiness— tha
whatever joy she and Eddie achieve wi!
be the result of intelligence, knowledge
love and effort. And these two happ:
people — so much in love — are willing t
make every effort for their future hap
piness.
Oops! Your Error?
( Continued from page 57)
op man, general Johnny on the spot and
distant director, when he got a bid to
rn actor in a four-million-dollar movie
lied “The Big Trail.” All his buddies and
ends tried to talk him out of it, explain-
j he didn’t have the experience, what’s
>re he’d make less money and, after all,
must recognize the fact that the young
)vie business was destined for drastic
anges.
John Wayne knew what he wanted. He
:nt into “The Big Trail” at seventy-five
! liars a week. The picture was a flop,
ike’s acting, to quote Duke, “might have
d something to do with it.” Meanwhile
I; depression, which just started, didn’t
lp; neither did the fact that the picture
jts made for a small screen. While the
|w screen was not of CinemaScopic pro-
tections, it was big enough to make the
iir-million-dollar picture outdated be-
•e it was shown. As Duke says, “If I’d
: tened to others, I might have stayed on
iirking around the set until I decided
iiat I really wanted to do and learned to
p. I could have saved myself ten years
(frustration and worry.”
\nd if you’re drooping around, trying
decide whether to be queen of a house-
id or a whiz at scholarly pursuits, take a
! from Duke: Begin easy, think things
I 'ough and stay away from a mad flyer
0 the wrong business.
ilix foot four and all of it sigh-bait,
ented Bob Francis is one of the nicest
yrs to hit Hollywood. Humble, retiring,
perfect listener, a thoughtful companion,
o’d ever think that Bob once boasted so
idly of big-headitis that brother Bill
1 to knock him through a bay window
knock some sense into his head? At
ven, Bob was well on his way to know-
; what he wanted: nothing would do
:t he’d someday represent the United
ites on the American Olympic ski team.
seventeen, he was on his way. With
older brother Bill, he owned three ski
ips which kept him in change and gave
i every opportunity to work out the
pes.
lis practice paid off and he was placing
every race he entered. One day, after
inpeting in an important tournament,
returned to the ski shop and casually
lounced that he’d tried out and won,
1 with equal casualness announced that
vas a cinch — despite the fact that every-
i who was anybody had competed
iiinst him. He was just about to yawn,
of boredom, when his brother yanked
I by the shoulders, spun him around
I I landed a punch on his jaw that sent
-shot Bob through the window of their
p. His brother helped him struggle to
i feet and led him back into the shop,
lere an indignant Bob listened to a ten-
iute verbal beating that “hurt even
lire because I realized what Bill said
ft; true. I learned then that no one can
fevive without confidence, but there’s a
lb that divides confidence and conceit
E;l that’s humility. I’ve never forgotten
B;,” says Bob today, which may be the
jP1 son he’s one of the town’s best liked
■Mngsters.
I learning Pier Angeli has started a one-
IVnan campaign to promote the institu-
fb of marriage. Pier couldn’t be happier,
pther could her mother, Mrs. Pierangeli,
li1 dentally. Pier’s only problem now is
Png to figure out why she waited so
SU to become Mrs. Vic Damone. Four
S’ rs ago, when she first met Vic and
Ber when he proposed in Germany, Pier
P she was too young to be tied down
marital strings. Without a serious
Plight, she firmly declared, no marriage
for me. Four long years went by — not all
filled with fun either — and now that Pier’s
married she wonders why she missed all
the happiness that could have been hers
with Vic. Maybe Pier made an error in
waiting — then again, maybe she had some
growing up to do before she could ap-
preciate her present contentment and hap-
piness.
Jeff Chandler’s six feet four, weighs 210
pounds and wears a shoe sized at 13 — an
impressive hulk of strength. Yet Jeff has
the heart of a poet, the sensitivity of a
composer and the gentleness of a surgeon,
amazing when you consider his bulk and
the rough-and-tough neighborhood he
grew up in. But Jeff never was a toughie.
In fact, he remembers (smiling now) how
when he was a youngster there lived
across the street from him five young boys,
all brothers and all from the “we’re tough”
school. Each day, as he came home from
school, Jeff would cross the street when
he approached their house. Then one after-
noon, forgetting all about the brothers, he
forgot to cross the street and ran smack
right into the biggest and toughest of the
lot. Before he had a chance to be fright-
ened, his feared enemy ran like the dick-
ens across the street. Months later, having
made friends with his opponents, Jeff dis-
covered they weren’t so tough; in fact,
the way they told it, for months they’d
been crossing the street to avoid “tough-
looking” Jeff.
How many times have you avoided the
girl who moved in next door because she
was so snooty? That is, until you got to
know her and she became your best friend.
Sometimes, if you’re in doubt, it’s best to
give the other guy or gal the break.
Have you an affinity for losing your
house key, letting the bathtub overflow or
burning the porch light all night? If it
helps at all, so does Rock Hudson. Recent-
ly, having a special invitation for the
weekend, Rock got up early, turned on a
favorite Chopin LP and went in to bathe
and shave. He then packed his small bag,
ate a hearty breakfast and checked all the
windows in the house to make sure they
were locked, double checked the gas and
lights before leaving. Two days later, after
a weekend of relaxation, he returned home
to find an eerie music-filled house. It didn’t
take him long to remember he’d forgotten
to turn off the record-player. What was
left scratching, not even Chopin could have
recognized.
How many miserable times have you
looked into the mirror, wrinkled your brow
in disgust and turned away, moaning, “Oh,
if I could only look like Liz Taylor.” Yet
Liz, who has been looking at that same
face for 23 years, until recently paid little
attention to it. One thing that can be said
about Liz, she’s never been impressed with
her own beauty, hardly seems aware of
the adoration it provokes. She rarely car-
ries a purse, never can find her comb and
would just as soon make-up once at eight
before going out for an evening and for-
get about her face for the rest of the
night. But after young Michael Wilding
arrived, Liz discovered, regretfully, that
she’d been taking her good looks for
granted. For even Liz recognized some-
thing had happened to the reflection in
the mirror. It took plenty of strenuous ex-
ercising— awful stuff for the lackadaisical
Liz, and plenty of food-refusing, to get the
Taylor back into those pre-Michael di-
mensions, but it’s a trim, well-groomed
Liz that’s being seen around these days
after her latest stork-invoked inactivity.
And if you’re really discouraged about
the way you look, Audrey Hepburn has a
lesson for all of us. Audrey for years had
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125
been mirror-shy. Every time she saw those
busy eyebrows and over-sized eyes and
wide mouth and un-Hollywood teeth, she’d
flood herself with a feeling of inferiority
and bemoan the very things that were to
bring her screen and stage stardom, the
qualities that were to be copied by ador-
ing teenagers the world over. Lucky for
Audrey, she was too honest to have Hol-
lywood change them when it offered.
But May Wynn wasn’t so lucky, for
lovely May was determined to do some-
thing about her delicate, well-balanced
looks. She wanted “character,” so after
landing a job at the Copa night club, she
cut off her long black hair into something
termed a crew cut. What was left, she
dyed a bright carrot red. Can you imagine
her dismay, when on opening night, the
boss came ’round looking for that lovely
girl with the long black hair? May almost
fell through the floor as he berated her
new look and threatened to fire her. “You
were hired because of your natural beauty
and what do you do? You go and make
yourself look like every other dame
walking up and down Broadway.” Lucky
for May, and her fans, she learned early
in her career to be her own pretty self.
Guy Madison had to go through a lot
of heartbreak and disillusionment before
he discovered that you can’t fool every-
body all of the time — especially yourself.
When Guy first arrived on the Hollywood
scene, he was a reserved, honest, out-
spoken young man. Then with his stagger-
ing hit in “Since You Went Away,” his
overwhelming bobby-sox following, his
new business and social demands, Guy
found himself too busy to think and plan,
too grateful to refuse. He dressed up for-
mally, attended social functions no matter
how tired or how much he disliked them.
He played roles that he felt “were not
right for me” because he had to repay the
people who helped him. When the tele-
phone stopped ringing and the parts failed
to come in, Guy Madison had lots of time
to think, and he realized that to succeed
at anything you had to be yourself. You
couldn’t conform, remold yourself to other
people’s liking because if you did you
ended up never quite knowing what you
were, what was right and what was wrong
for you. Guy made up his mind to be Guy
Madison, to do roles that he could believe
in, to live his own life the way he felt was
right. It was the right decision — this year
Photoplay readers voted Guy Madison the
most promising star of 1955; he found him-
self a loving wife, is preparing a family
future. What does it prove? Simply this,
it’s your life; seriously consider how you
want to live it, then forget about the
Joneses, the professional advice-givers,
the temporary social climbers.
Did you ever feel yourself stiffening up
when you had to enter a room full of
strange people? All of a sudden you seem
all hands and your tongue’s tied so tight-
ly that even saying “Pleased to meetcha”
becomes an overwhelming challenge. It’s
happened to Janet Leigh and Van Johnson
and Kim Novak. Janet learned to be a
charming listener; Van started wearing
red socks so he’d have something to chat
about and Kim, before she pried loose her
tongue, had to remodel her form and
change her name.
Born Marilyn Novak in Detroit, Kim
later added a middle name “Ann” at con-
firmation because her initials then added
up to MAN. Although Kim was aware of
men at an early age, men seemed unaware
of Kim at a much later age, which did
nothing to add to this girl’s social talents.
Kim, who was still Marilyn, fumbled
through school and graduated with top
honors as the girl with the biggest in-
feriority complex. Modeling and learning
to dress well helped Kim stutter less; get-
ting into the movies did even more. She
had her name changed from Marilyn to
Kim, her hair shortened and curled and
her humiliating husky voice developed in-
to the sexy tones you heard on “Phffft.”
After nineteen years of mistaking her
talents, Kim’s finally discovered how to
make the best of what she has — a lesson
for all of us.
Mickey Rooney once lived so high that
when he visited New York, he didn’t rent
a mere hotel suite, he rented two entire
floors. And the Mick didn’t hire one car to
drive around, he hired five Cadillacs. He
didn’t marry one girl, but three of them, at
different times of course. He spent money
as though it were going out of style. Then
for him it did.
Two years ago, at the age of thirty-two,
Mickey was considered through, washed
up. He didn’t have a studio contract, he
had a hard time getting jobs in “B” pic-
tures, he was out of money and he didn’t
even have a wife.
That’s all changed today. Now Mickey’s
starring in good movies like “The Bridges
at Toko-Ri,” he has his own television se-
ries, “Hey Mulligan” — in fact, he’s doing
so much and so well he’s had to incorpo-
rate and is now “Mickey Rooney Enter-
prises.”
Rooney’s mistakes are in the past, he
hopes, but without them he couldn’t have
attained his present maturity. “I guess I’m
calmer, more tolerant, wiser than I used
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j:
In
ra
to be. I hope so,” he told me at lunch yi«
terday. “And I’m not sorry for the thin) |
did. Brother, what I learned from ttn
would fill a library. And the best th g
those early mistakes taught me was to >-
preciate the wife I have now.”
Mickey, married for the fourth ti 2,
sincerely believes this marriage is ir
keeps. His wife Elaine somewhat resew
bles Ava Gardner, Mrs. Rooney #1. w
unlike Ava, Elaine has a head for busin s.
She has taken his finances in hand,
off all of his debts, makes sure he sal
his money and sees that he keeps up a
child support payments, to two of *
matrimonial predecessors. “She’s good t
me,” Mick says, “real good.”
Marilyn Monroe’s made her mistal 3,
too, and she has her friends worried o r
her fight with her studio, 20th Centu -
Fox. Marilyn has strong ideas on what e
wants to do on the screen. She said rece *
ly, “I want to play roles with a heart n
them. I don’t want to be a scheming, A
cious woman on the screen. My fan nil
scares me. I get a lot of it from men, j(i
they’re as nice as can be. But wonn
write and say they hate me; I’m sure S'
because of the roles I’ve played. Wonn
didn’t hate Jean Harlow and she \ s
pretty sensational with the men. I want jo
do the kind of things Jean did.”
Now why doesn’t Marilyn tell all this
Mr. Zanuck, her boss? He’s always will_
to listen, and what’s more, he’s alws
wanted to please Marilyn. Let’s hope s
not too late for them to get together aga.
Marilyn made another mistake wl
she cut herself loose from Joe and fr
nearly everybody else in Hollywood, i
wrote all those with whom she had b<
associated — her lawyer, her agents, etc
and fired them. As her business mana;
told me, “You just don’t fire lawyers
letter.” Maybe Marilyn is sorry now. C
thing’s certain, the Monroe seems to
thinking Joe was one friend she shoulc
have let go
It’s happened to the best of us. Wc
doing our job, doing it pretty well, 1
we’re always ready to please; we’re woi
ing hard for advancement; we’re re<
and able for more important work
what happens? Nobody seems to notice »
— or our efforts. That night at the din:r
table, we give forth on our frustratic;,
ending with, “I’ll tell them what to 0
with that job . . .”
John Derek and Terry Moore felt 1 s
way, too — once. John was a hit in “Kni
on Any Door,” and he was good besic
Then what happened? Within two ye;
not another good picture. He fumed
ranted and Pati listened patiently abc
“I could do better on my own.” Fina
she agreed with John, if he wanted
freedom from his studio, go ahead ;
ask. John did; he got it; and the next i
years were mighty lean ones. Was i‘
mistake? Perhaps not, since John’s sti
is rated high on the Hollywood tal
market today and he’s learned patieie;
and to accept responsibility.
Terry Moore’s been away from es|
screen for almost a year now, and her f s>
have been screaming for a glimpse of 1
ever since “King of the Khyber Rifle
but the young Miss Moore kept turn
down roles she felt would not help
career until “Daddy Long Legs.” In
meantime, has staying away from the f.9
helped Terry’s career? Sometimes, a
better to keep working and learning ui 1
your “big chance” comes along. V\ 0
knows though? Many a mistake has b< 1
turned into a blessing by a smart-mine 11
lass. So if you’re presently living in a h
over a boner you’ve pulled, come on ou
there’s always hope, besides you’ve
good company!
The End
Look Who's Smiling!
( Continued from page 49)
(ranger later did get to see it. But that is
jveral coastal miles beside the point,
he point is that three years, two years,
mybe even one year ago, Granger would
ot have done what he did.
His failing would not have been due to
le loss of money — he is a generous man —
or selfishness, nor even thoughtlessness,
ut the whole gesture, which once would
ave struck him as a somewhat gaudy one,
ould have represented to him an in-
ingement on what he has termed “in-
■grity of conduct.”
“Everybody likes you,” Granger said one
ay testily to his long-time friend Deborah
err Bartley. “What do you want to be
ked for?” Miss Kerr, who also has ac-
aowledged a queasy sensation in Grang-
es presence that he is planning to cuff
jar idly on the backside, replied that she
iought it was pleasanter than vice versa.
But Granger, huddling within a protec-
ve shell of fierce independence, would
ive little truck in those days with such
itions. Or maybe it wasn’t a protective
tell. Maybe, as some of his friends
renuously testify, Granger wanted no
putation that he was “bucking for a
ijerit badge.” Whatever the case, he got
hat he sought — if he truly sought it.
Granger was not widely liked. He was,
I some quarters, rather intensely dis-
ced. And in all quarters, he was in-
insely respected. The greater hostility
ji‘ felt, the more belligerent he became.
Indeed the only sensation — if sensation
can be called — that Granger did not
ouse was indifference. There were peo-
E who liked him, people who didn’t like
m and people who didn’t know him.
Yet the respect he inevitably exacted
is well-earned. On the Metro lot one
i y, Granger encountered a bit player who
viously was not enjoying a flush period,
le two shook hands briefly, in fact
i oily, and when the bit player went his
ly, he was palming a twenty dollar bill,
jlittle something Granger had left there
■ thout a change of expression.
‘Now, why,” asked a friend of Granger
10 had caught the transaction, “did you
i that? The guy’s never done a thing for
u but put you on the pan. Who’s buck-
\\ for a merit badge now?”
‘I know, old man,” said Granger. “But
lare’s freedom of opinion, isn’t there?
rthermore, how does his opinion of me
nke him any less hungry? And be-
les,” he added thoughtfully, “he may
Ive a point there.”
■ Thus it may be fair to ask at this point,
Iwy the change in Granger? Why this
Bi llowing process that has turned him in
B: last year into an infinitely warmer and
B,s truculent person?
■' s he somehow rid of an inferiority com-
II x? Intimates say this is ridiculous be-
luse he never had an inferiority complex,
pit the gentle, constant influence of his
|1 ely and talented wife, Jean Simmons?
Bill, perhaps to an extent, but Jean’s been
;i"iund all the time. Or did the man read
liciook? No. Not that kind of book, any-
Vy‘
|i Actually, the best available sources be-
lt/e that the change in Stewart Granger
If; come in part from his belated recogni-
P'l — Granger is forty -one — of the fact no
Bin can stand alone.
» Jranger has found in the exercise of his
P'fession a peace that was hard come
Sc In the working out of the task he has
fe himself, he has found what apparently
bn wanted from the beginning. But he
p discovered at long last that he was not
Rne, battering at imperfection single-
»ided.
“You know,” he said recently in a tone
of mild and gratified surprise, “we’re all
in this thing together. And I could be
wrong.”
This was quite a yodel from the star
who used to go to the mat with producers
or directors on the most niggling piece of
business he considered wrong for a pic-
ture. It didn’t have to be Granger’s piece
of business, though Granger in the end
was his paramount consideration. It was
anything that offended his aesthetic senses.
To a degree, of course, Granger is still
like that. Sloppiness in film-making of-
fends him deeply. He has said so and will
say so again. But these days, he tends to
vent his disagreement in the light of sweet
reason and to recognize that others as well
have a stake in the proceedings and are
as anxious as he to have it right.
Granger in the old era once did battle
with a director who finally advised him
that he, the director, had been in pictures
for twenty years and might conceivably
know what he was talking about. “Truly?”
said Granger. “May I tell you something?
I’ve known an actor who’s been on the
British stage for forty years and is still
regarded as the lousiest actor in the em-
pire.”
The Granger of 1954 would almost cer-
tainly phrase his reply more tactfully. In
extremis, he might even keep his mouth
shut.
Dealing with Granger in his entire re-
lationship to Hollywood and pictures is not
much easier than trying to describe an
egg beater to a Zulu, but certain things
can be and should be understood.
One is that he has long gagged over the
by-products of his profession, and even
today can no more than tolerate them. In
general, these are autographs, personal ap-
pearances, night-clubbing, flamboyant
public recognition and — although he sub-
mits with grace — certain types of inter-
views.
“I hold the unpopular minority view,”
he once told a writer, “that an actor’s job
is done when he’s left the studio. Ration-
ally, I know it’s not so. I’m talking to you,
for instance, and not being too much of
a ruddy monster, I hope. After all, I knew
what it was going to involve when I went
into it. But you know, even a player,
even a ham, likes to feel he’s off sometimes.
Off the stage, out of the public eye. Truly,
I feel this. I feel the people might be
happier if we kept to ourselves when
we’re not working, leashed or in cages
like animals in the zoo. Then everyone
could have fun guessing what we live like,
and the wilder the guesses, the better.
You know, I go for this lion-on-a-leash
bit, pouring champagne in our hair, and
all that. But the trouble is, I don’t do it.
I am so damn dull for readers. I wish I
could make something up for you. But
nothing earth-shaking will come of this,
nothing of lasting historic value. We en-
tertain on a limited scale. The Mike Wild-
ings. Liz Taylor, you know. Tony and
Deborah. The Nivens. There’s food
around. If anyone’s hungry, they can eat
here. If not, we don’t shove it at them.
Night clubs — no. Lord, I am so ordinary!”
The scene was the Grangers’ dwelling in
the hills between Hollywood and the San
Fernando Valley. It’s a nice little job with
a shake roof, a pool, a dizzying view on all
sides and a rather persistent wind. The
speech was convincing. But one or two
props weakened it. Granger’s audience
had one foot on a lion skin. Granger had
shot the lion. The ash tray between the
two was a converted elephant’s hoof.
Granger had sloughed the elephant. He
moved a bit carefully to his right on ac-
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THIS GORGEOUS BOOK IS REALLY . . .
HOLLYWOOD
IN REVIEW
It's better than ever! It contains more news and pictures
about all the stars of Hollywood than ever before. Yes, the
exciting, new 1955 edition of PHOTOPLAY ANNUAL is
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stars ... a real Who's Who in Hollywood. This colorful
and glamorous year book is THE book-of-the-year— as far
as Hollywood is concerned. Get your copy of this prize
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in this great yearbook:
NEWS EVENTS OF THE YEAR— 20 exciting pages in
pictures and text covering the month-by-month weddings —
separations — divorces — births — awards — scoops.
PERSONALITIES OF THE YEAR— Stories and pictures
of Robert Wagner • Janet Leigh. Tony Curtis • Debbie
Reynolds • Rock Hudson • Marilyn Monroe • Guy Madi-
son • Audrey Hepburn • Audie Murphy.
LOVE SCENES — Beautiful full-page scenes of the stars
from ten top shows of the year.
DANCERS OF THE YEAR — Action pictures and bio-
graphical sketches of Cyd Charisse • Vera-Ellen • The
Champions • Taina Elg • Leslie Caron • Mitzi Gaynor.
PERFORMERS OF THE YEAR— Here you get portraits
as well as action shots from their big pictures, plus the
autographs of Marlon Brando • June Allyson • Van Johnson
• Judy Garland • Robert Mitchum • Gary Cooper •
Burt Lancaster • Ava Gardner.
ALL-TIME FAVORITES— Beautiful pictures, plus thumb-
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• Eleanor Parker • Clark Gable • Betty Grable • Victor
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SONGSTERS OF THE YEAR — Doris Day • Howard Keel
• Jane Powell • Bing Crosby • Danny Kaye • Rosemary
Clooney • Frank Sinatra.
PORTRAIT GALLERY — Full-page pictures of Esther
Williams • Elizabeth Taylor • Montgomery Cilft • Jeff
Chandler • Stewart Granger and Jean Simmons • Ann
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making news. Some have just flashed into sight — some now
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count of an old rib accident. A water
buffalo had cracked two of them. Then
again, there had been the incident of the
night before. After the Bogarts had left.
“Tell him about the tree,” a bystander
admonished Granger.
“What tree?”
“You know. Last night.”
“Oh, that tree. You tell him, old man.
I’m not going to answer for boring the
reading public any more than I have to.”
The Tree, duly corroborated by Granger,
went like this. Granger had bought a
tree, a birch. Paid seven hundred dollars,
including transplanting. The boys had
stuck it in the ground. Two days later
in the witching hours of the night, the
winds had come — with near-hurricane
velocity. A peculiar sound awoke Mrs.
Granger. It was the tree being un-trans-
planted. Rapidly, too. She shouted for
Mr. G. And while she called for help, Mr.
Granger stood locked in mortal combat
with his birch, determined to prevent
seven hundred dollars from rolling down
the hill to destruction. It was an epic
struggle. Granger and tree were swept
from side to side. If tree went, Granger
was going with it — a fall of possibly 3000
feet. When help got there, the combatants
were right on the lip of nothing. But the
tree was still present and accounted for.
“You see?” said Granger. “Nothing ex-
citing. Now if it had been a mountain
lion . . .”
In trying to understand Granger, bear
this in mind. He wanted to act — certainly.
He was amenable to being an actor, but
never did he court celebrity. If in the
very beginning he enjoyed fame he has
long since ceased to.
“The happiness I’ve got,” he has said,
“has been from the work, from the feel-
ing of rightness I’ve sometimes got from
it. I can get this feeling in a screening
room with only two other people, watch-
ing a day’s shooting. But when it’s time
for the premiere and the crowds and the
lights — then it’s all behind me and my
rightful place is home. Do you see what
I mean? There must be a dreadful mal-
nutrition of the spirit to have to take
nourishment from celebrity. All that,
you know — it’s not an ambition, it’s a day-
dream. The satisfaction in maturing is in
the work, in doing as well as you can the
thing you happen to know how to do. The
nourishment comes from within, or it
doesn’t come. There’s nothing else. And
till you know that, you don’t know peace.
Forgive me if I sound pompous, but it’s
true.”
Granger is in truth a zealous perfec-
tionist. Making “King Solomon’s Mines”
in Africa, he declined to speak a Nairobi
dialect because the location was two-hun-
dred miles north of Nairobi. He was bit-
ter over being forced to use blanks in
firing an elephant gun. “Those things
kick your shoulder off. Now it’s not go-
ing to buck any harder than a squirrel
rifle and I’m going to look like a ruddy
fool.” He doesn’t believe in pulling punch-
es in screen fights, and once continued
firing a gun that was back-flaming pain-
fully into his face. “It might really have
done that, you know. The scene had guts
to it.”
All this combines into an admirable
craftsman’s quality, but they don’t make
Granger easier to work with on a set.
On the other hand, Granger’s facade
away from work has thawed immeasurably,
and his scope of social activity wide:
proportionately in the last twelve mon
That is why his friends are so sure t
the inner peace and confidence he
finally found have been therapeutic me
ures of enormous value.
Granger still has the remnants of w>
he describes as “a filthy temper,” but
now has it pretty well under control,
flares on the set from time to time,
not with the old virulence — and witl
considered understanding of the rights
others, not to mention their feelings,
still erupts violently over rumors of tri
ble between him and his wife, but r
contempt for talebearers dilutes the r
and diverts it to a healthier channel.
His pride in his own theatrical ju<
ment is stubbornly maintained as eve
but he was able to say not long ago:
“I told Jean right from the beginn
she shouldn’t play Ophelia in ‘Hami
But she wouldn’t listen. Just a youngs
you know. Went right ahead. All rig
what’s it done for her? Nothing
make her a star. If she’d paid attent
to me, it never would have happene
and I’d have had to give her three f
swings at me with a meat cleaver. U
prospect, now that I think of it.”
Granger’s honest handle, as you likjj
know, is Jimmy Stewart. But Jim j
Stewart’s name is Jimmy Stewart, too,
Jimmy Stewart changed his to Stew
Granger to avoid confusion.
Although he comes from theatr
forebears, Granger never thought mi
about going in for acting himself until
became aware that good-looking g
were part of the environment. That fi
his ambition. His parents were more
him being a singer or a doctor, but
latter he declined “because you ought!
be three-quarters saint and I’m not eu
a sixteenth.” As for singing, there '
power and resonance to the Granger vc
but not too much range.
Granger did pretty well on the Brii
stage before being tapped for pictures ;
even better with the Black Watch Rc ■
ment in World War II before an ulcer
him out of business.
After that, he got real hot in films, ’
dragooned to Hollywood by no great
fort on the part of the local dragoon
became top boxoffice, incurred enen ■:
and made friends — all in something ]|
that order. Now it is widely felt that
“new” Stewart Granger, whatever 1
may be in the language of psychologi
is the real one and the one here to s i
Also, it has to be said for Mr. Gran
in conclusion that he, like everyone e
has had to make do with the face that 1
given him, and that while strikingly hai!
some, it is not the sort of face which ex<
instant, overwhelming appeal. His is
kind that grows on you. The lower li]
full and drooping, the nose almost aggi
sively Barrymoresque, and the wl
gives an air of general hauteur. Still d
all, don’t stick Granger with it. “Give
back my eyepouches and my wrinkles!’
screamed once at the Metro art gall J
after they’d retouched some of his :jl
pictures. “I’ve worked years for the:
That’s a ham talking? It assuredly is 1 1
And in sum, the 1954 model Stew
Granger will look like the old Granger, t
it’s what’s behind the facade that be
watching.
The End
DON'T BE IN THE DARK ABOUT
HOLLYWOOD GOINGS ON
Get your copy of the June issue of PHOTOPLAY and read: Pier Angeli's first m
riage story. What Brando's teachers and fans have to say about Marlon. Ja
Powell — "The little girl no longer lost" on the stands may
*
128
1+ Should Happen to a Lemmon!
( Continued, from page 59)
he fact that in one brief year of movie -
•taking he’s won the reputation of an
Xpert laugh-getter.
Ever since his first picture with Judy
[olliday in “It Should Happen to You,”
ack’s been hailed by critics as the bright -
st and best of the new cinema comedians.
In trying to explain Jack’s success, you
rst have to know him. Yet to describe
im is difficult. He looks like a young
ager lawyer or perhaps a bright, up-
oming bond salesman. His conversation
; sprightly but cultured; show -business
irgon crops up sparingly but effectively,
[e’s had the advantages of a well-heeled
nd socially active family who saw to it
lat his education took place in private
:hools and at Harvard. And despite the
ict he calls Hollywood home, there’s more
[arvard gloss on him than Hollywood,
et he’s an actor to his fingertips. He loves
is work and works hard.
He offers the casual appearance of built-
I brains and gentility. When a studio
xecUtive told him he had the asset of not
i oking like a comedian or even like an
ctor, Jack replied, “No actor looks like an
ctor anymore.” The line has been quoted
equently, often with a suggestion of
ight disbelief.
“I don’t understand why people are
jrprised that I said that. I was re-
aring to the matinee-idol — in the live
leatre. I remember as late as my teens,
lie leading men I saw were always the
ing, wavy-haired, flamboyant, Inverness-
ipe type. But in the movies, this isn’t
s'ue. A man may look like a truck driver
id be a leading man. The matinee-idol
/pe is a thing of the past,” says Jack.
Tall, slim, with black hair that’s straight
nd certainly not long and wavy, Jack
new acting from every angle — stage,
idio, tv — all before he clicked on the big
:reen. He feels very earnestly that to last
3 a star it’s much easier if one has such
aining and background.
“It’s much harder for the actor who is
ashed and rushed into sudden stardom,
his is a highly competitive business,
here are always eight thousand people
ist as good as you are. It can happen that
1 person can become a star without great
ilent and training, but it’s mighty tough
>r him to meet the competition.
: “If my son Chris wants to go in the
itertainment business when he grows up,
II never object — if I’m sure he couldn’t
■ e happy without it. It’s not enough to
ke it. You’ve got to love it. The theatre
too tough; too much depends on luck,
’s not like any other business.”
One of Jack’s first jobs after graduating
om Harvard was in a not-so-swank New
ork night club, The Old Knick. He
layed piano, wrote comedy skits, sang,
anced, was m.c. and comedian. He did
ist about everything except roll out the
npty beer barrels.
“That was the luckiest thing that ever
appened to me. Ordinarily young enter-
' liners have no place to learn as they
ork. As George Burns has said: ‘Actors
ave no place to test their material and
■ apability. No place to be lousy.’ The
reak-in circuits of vaudeville and the
aany touring stock companies of years
lo used to afford this training. Now
here do you get it, unless you’re lucky as
i was? It was the greatest.”
During Jack’s early struggling days in
ew York, he declined offered financial
ssistance from his father. He lived in a
1 ,‘edy one-room apartment, which he as-
Iirts had two definite advantages. It was
ver a delicatessen and was big enough for
piano. He’s an expert on the eighty-
ght and also has written many songs.
“They’re not commercial— -or at least
haven’t been up to now — because they’re
show tunes. One time I sold an option
for an entire score, but the show never
was produced. Maybe someday,” he adds
hopefully.
“Playing piano is a necessary outlet for
me. It’s relaxing. I usually play for a
while when I get home from the studio at
night.”
He also plays harmonica and ukulele.
He and Jimmy Cag"ey spent hours strum-
ming ukes when they were on location on
Midway for “Mister Roberts,” in which
Jack plays Ensiqn Pulver. He idolizes
Cagney.
“What great all-round talent he has.
Not just acting arid dancing. He paints,
plays guitar, writes brilliant and sensi-
tive poetry. And he has such heart. He
spent hours teaching me to hoof. He’d
give me all sorts of tips on doing scenes.
Then, of course, he’d take the scene right
away from me. He can’t be topped.
“I’ve never worked with finer people.
I asked Hank Fonda, who plays the name
role, if he ever got tired of playing Rob-
erts after something like a thousand per-
formances on the stage. He said, ‘I always
liked Wednesdays and Saturdays because
then with matinees I got to play it twice.’
That’s what I mean about lasting stars.
They love their work.”
Director John Ford and producer Leland
Hayward of the “Roberts” company be-
lieve Lemmon has this same quality.
They’ve even said so for publication. Hay-
ward adds, “Jack is dynamite. He’ll be a
big, big, big star.”
This dynamic young gentleman-comic
was born on February 8, 1925, in Boston,
and named John Uhler Lemmon III. His
father, now vice president of the Doughnut
Corporation of America, was officially in
the baking business, but show business
was his hobby. As a boy he had sung and
danced in minstrel shows, later in life
got kicks out of playing benefits. At the
age of four, son Jack joined him and made
his debut in a melodrama entitled “Gold
in Them Thar Hills.”
While Jack was attending Phillips An-
dover Academy, he spent summers with
stock companies in New Hampshire and
at Marblehead, where he gave that provoc-
ative performance in “Angel Street.”
“At Harvard I spent so much time on
music and acting I always had to cram
for exams; I just got through. I was no
honor student. But I had a good time and
got a lot from life there. It was a living
ball through school and college. And I
don’t think this was a mistake. You can
get knowledge by reading books at home.
I believe at college you learn by growing
up with people, just as much as through
academic learning. I wouldn’t have missed
any of those extra-curricular activities.”
Among other things, Jack was vice pres-
ident of the dramatic club and president
of the Hasty Pudding Club which
produces musical comedies. (He recently
was awarded a plaque by the society cit-
ing him on his “elevation to leading man
in the nation’s brightest entertainment
medium.”) In addition to college-produced
plays, he worked with the Abbey players
from Ireland when they spent a season
in Boston.
After serving as an ensign in the Navy
during World War II he returned to
Harvard for a year of graduate study,
then went to New York. There in 1948,
while acting in a little theatre production
of Tolstoi’s depressing “Power of Dark-
ness,” he had an experience far from de-
pressing. He met beautiful, blond Cynthia
Stone, a young actress from Peoria, Illinois.
“She was an ugly, dull girl who chased
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me for two years, so finally I married
her,” is Jack’s reverse way of describing
his courtship of his adored Cyn.
Cynthia was a successful radio actress
and coached Jack on microphone tech-
nique. Soon Jack was working regularly
in soap operas. Quite by chance, Jack
and Cynthia were cast opposite each
other in one of these and worked together
for twenty weeks. They were married in
Peoria on May 7, 1950. For seven months
shortly after that, they did “The Couple
Next Door” on ABC-TV.
The ambitious young couple next in-
corporated legally as Jacyn Productions
and sold their own packaged TV show
“Heaven for Betsy” to Lever Brothers on
CBS. They still own the property.
“But actors shouldn’t try to handle
finances which you have to do on a pack-
age deal. It’s too much of a headache.
I’ll never try it again,” vows Jack who
produced as well as starred in the series.
Jack and Cynthia were on a fishing
trip in the wilderness a hundred miles
north of Montreal when they were sum-
moned back to New York because their
show was sold by their agent.
“We were out in the middle of a lake
when a voice from shore called ‘Jacques
LeMond.’ It seemed fantastic, being paged
that way. At the lodge we managed to
understand, with our smattering of French,
that I was to drive to La Berriere, Quebec,
to the nearest phone — ten miles — and call
New York. The operator there spoke only
French and she didn’t seem to understand
my French at all. It was the most fantastic
relay you ever heard until I reached the
William Morris office in New York. Then
our agent merely said, ‘Come Home!’ ”
Jack and Cynthia still love fishing,
someday hope to buy a shack in the High
Sierras as a base of piscatorial operations.
Today they live in a white colonial
house in Brentwood, which Cynthia has
decorated with charming warmth and
taste. There is a happy blend of con-
temporary and traditional, with fine an-
tiques and gleaming silver. Jack has a
baby grand piano. The dining room is
especially attractive, with French mural
wallpaper depicting scenes in Paris. In
place of a large dining table there are
three small glass-topped tables, giving
the effect of a sidewalk cafe.
There is no swimming pool in the large
yard and this leaves plenty of room for
Jack’s newly acquired passion — gardening.
Although he considered himself a con-
firmed New Yorker, and admittedly misses
many things about Manhattan, he now en-
joys his suburban life. He’s become an
expert on roses and currently is “getting
hepped on camellias and azaleas, too.”
Jack says quite frankly, that his ma: •
hobby is son Christopher, born last Jui
22. This adoring father will talk aboi .
his son without getting a cue.
“He’s such a wonderful baby. So goo
healthy and big! He weighed nine and
half pounds when he was born and befoi
he was six months old needed size or
clothes, but he isn’t fat. He has blor
hair and gray-blue eyes. I think he lool
like Cynthia, which is wonderful becau:
she’s slim and blond and a beautiful girl
Jack and Cynthia named their sd
Christopher solely because they both like
the name. No family reasons.
“Not for anything would I have nam*
him John Uhler Lemmon IV. Why, <•
John Uhler III I had to be a ham by tl
time I was eight,” says Jack, His ey<
bright with mirth, the same Jack who flat/
refused to have his name changed wh«
he signed his contract with Columb
Pictures. (“I guess they were afra
people would gag that the studio had
lemon in Lemmon.”)
In the little time he has for hobbies!
he’s jumped from “It Should Happen ■
You,” “Phffft,” “Three for the Shov
and “Mister Roberts” into “My Sisb
Eileen” with no time between — he’s tryir i
to take photography a bit seriously-
“only because of Chris, so we’ll have
photographic history.”
Jack likes golf, enjoys night clubs o<
casionally but prefers small parties /
home. He likes to dance and go dancin
but Cynthia, unlike most wives who hav
to urge their husbands, doesn’t care tc
much for dancing. Jack has a prodigiov
memory, reads more than the average, c
a wide variety of subjects. He dressr
conservatively. He is neat by instinc
Cynthia doesn’t have to pick up after hii
He likes to cook and is a good cook. E
has great admiration for his father.
“Dad was never a professional dance
but he’s always been mighty good at so
shoe. One time he even danced at
benefit with the late Bill Robinson. Dt
was no Boj angles but he did all rig!
He has always said when he failed to fir
romance in a loaf of bread he’d retire. F
always loved his work and obviously st:
does, because he tried to retire last ye;
and went right back to work. He’s bee
opening new markets for doughnuts
Europe. Did you know doughnuts a:
going big there now?”
Obviously Jack has inherited his father
verve, his zest for life, a dedication to tl
work of his choice. And you can bet yor
best spring bonnet that John Uhler Len
mon III will always find romance in hi
work of getting laughs.
The End
WHO ARE YOUR FAVORITES? vou want to see in Photopl/
In color l want to see: actor: actress:
(1) C)
(2) (2)
l want to read stories about:
(D__ _ (3)
(2) (4)
The features I like best in this issue of Photoplay are:
(1) (4)
(2) (5)
(3) (6)
NAME
ADDRESS ACE
Paste this ballot on a postal card and send it to Readers’ Poll
Editor, Box 1374, Grand Central Station, N. Y. 17, N. Y.
That Do or Die Doll
I
( Continued from page 61)
\ ;wsprint — so large a portion that it’s been
i fficult to separate the facts from the
S -ess-agent’s fiction. To make any head-
ay, it’s best to start at the beginning—
ith Shelley’s mother.
i Shelley’s mother was a beautiful, talented
oman, deeply sensitive, emotional and
[assessing a heavenly operatic voice. She
I as bread and balm to the boisterous yet
nsitive bundle of nervous energy who
! as Shelley. She indulged her com-
I etely. If Mother had not been a frus-
[ ated actress, would Shelley’s iron will
id inner drive have been poured into
her channels? Did the complete lack of
scipline help mold the colorful charac-
I r of the child who could wear everybody
I iwn, indulged in temper tantrums, but-
| red the slides on the playground, walked
two-story balcony railing at dancing
hool when four, told the teachers what
do, was a tomboy and a show-off and
t into enough trouble to send Mother to
hool for “talks” with teacher at least once
week? Or was it Mother’s beauty that
t a deep wound that still festers? For
ry early and very earnestly Shelley de-
led she was not pretty.
Her impressionable mind fastened like
bulldog on the humiliating inability to
e up to Mother’s beauty. She felt un-
:sy with girls and in self-defense became
[tomboy. She was comfortable and at
me with boys for there was no reminder
her lack of beauty. It would be years
fore full understanding that beauty is
i nettling within — that she, too, could and
’>uld be beautiful when she wanted to
Aickly she learned to cover the ex-
ijsure of her warm and generous nature
ilhind a facade of aggression and domina-
[1 n. So, inevitably, the bitter battle of
[< al natures planted the seeds of inse-
p rity, fear and restlessness in the tur bu-
ll ;t soul of an intelligent, quicksilvered
Id.
The shell of brass and flamboyance hard-
I ?d when Mother went to work when she
iis twelve. She stayed on the streets till
fdnight, roller skating, playing games,
i seriencing the rough night life" of a
J ghborhood not too safe in daylight. She
il rned to hate housework, for she had
ten her mother’s place in cooking meals
ial cleaning, and she loathed it.
lit thirteen, a discerning music teacher,
il >la Speers, saw through her belligerence,
•!. >ky-playing and trouble making. Miss
c ;ers was a stern woman with an amazing
p ception. Having had acting aspirations
b self, she recognized Shelley’s refusal to
fe up and perform as a self-conscious shy-
bs that could hide talent. One day an
o let for all Shelley’s drives and wild com-
psions found release in a creative chan-
II Miss Speers suddenly commanded,
“ )u will write and produce the entire as-
subly program for two weeks from Fri-
ck You’re on your own — do what you
Mat to.”
’ helley wrote a one act musical, “Come
0 of the Kitchen,” animating the pots
a pans, dish mop and teakettle. She
P ted her cast and rehearsed them like an
0. pro. She wrote new lyrics for popular
S(gs and cast herself as the dish mop
"a fell in love with the hero, the broom.
S 1 made the costumes and supervised
t'rything, even the sweeping of the
fl r. She forgot just one thing — Mr.
Renberg, the piano teacher. When she
fii lly handed him the score of her
niiical at dress rehearsal with instruc-
ts of, “ten bars of this, and verse and
clrus of ‘Hold Tight,’ and fifteen bars of
SQ incidental music for the teakettle num-
bs” Mr. Rosenberg almost had apoplexy.
Somehow she convinced him that he could
do it and the next day, before a thousand
kids, Shelley felt the first thrill of the
theatre in the applause and approval. She
felt that intangible magnet that exists be-
tween performer and audience.
The school principal made a speech after
the show, “This is the most unusual and
engaging assembly we’ve ever had,” he
announced and turned to the writer-
actress-producer; her eyes filled with
tears as he pinned the coveted music pin
on the black tie. Shelley fell in love — with
music, acting and the very essence of thea-
tre. She had found something to adore
openly — and safely.
Viola Speers taught Shelley many things.
She gave her free music lessons. She
erased, in part, Shelley’s fear of not being
pretty enough. She took her home for
dinner and became her friend and staunch-
est fan. She even showed her how math
and music were alike — turning an indif-
ferent student into an avidly curious prob-
er. Shelley played the lead in “Good
News” that year and by the time she was
ready for high school was taking the first
steps toward self-confidence.
The summer before high school, she
started working in a five-and-ten. While
eating lunch with a couple of other clerks,
the discussion turned to the beauty contest
which was the big thing of the day. One
of the girls taunted Shelley about enter-
ing. The other girl picked it up. They
rode her until she was in a rage, “All right,
I’ll enter it and I’ll win it.” She flew out
of the cafe clutching her savings, sixteen
dollars, and marched into a beauty shop,
“You make me beautiful — sixteen bucks
worth,” she demanded. They cut, shaped,
and set her curly, unruly hair, tweezed her
eyebrows and did her make-up. She
bought a white satin bathing suit (a very
new style at that time) on credit, picked
up a pair of falsies to fill out her childish
frame, and borrowed her sister’s high
heels. But she didn’t take a chance on
winning. She rounded up the Boy Scout
Troop that was parallel to her Girl Scout
Troop. On the eventful day, Girl Scouts
and Boy Scouts assembled into one brass
band. When the lifeguard-chairman held
his hand over Shelley’s head, a cacophony
of trumpets, drum and trombones filled the
air. Shelley won the beauty contest. She
still covets the first-prize cup . . . and
wonders if she might have won without
the insurance of a brass band.
In high school the pattern of her love
life took shape. A shape that stood in the
shadow of her first love, acting. Feeling
her personal magnetism, learning how to
dress and accentuate her assets had taken
the edge off her desire to be popular. She
was popular, so there was no field to con-
quer. Once she knew she could date, she
lost interest in dating for dating’s sake.
On her way to look in on the captain of
the basketball team in the gym one day,
she happened to pass the tryout room for
“The Mikado.” She was quite taken by
the basketball captain and had been dating
him a lot, but when the teacher asked if
she’d try out, she couldn’t resist a shot at
Kitisha, the villainess. She got the part.
She lost the boy. She worked hard and
opening night was determined and ready.
The high school was so large they had two
orchestras of one hundred each. They
combined for the opening of “The Mikado”
in the auditorium that seated six thousand.
When the conductor suddenly became ill
that night, a student conductor took over.
As Shelley started her main song the
orchestra started off wrong. For a few
bars she tried anyway. Then Shelley
raised her arms and stopped the orchestra.
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132
She strode to the footlights, “We will start
again,” she said forcefully. The orchestra
struck up once more. “One — two — three,”
quoth Kitirha and the tune was off the
ground and falling beautifully on the ears
of the delighted audience. Shelley was a
hit.
That same bravado pushed down her
deeply embedded insecurity in her last
year of high school. She decided to get
out of the five-and-dime and model. By
this time her figure needed no accoutre-
ments. Designer Teddy Shaw wanted
junior models for his Kalman and Morris
Evening Gowns. Shelley stifled her inner
misgivings and applied. “Can you model?”
“Oh, sure,” was the nonchalant reply. Clad
in a Schiaparelli copy and awkward and
off-balance in high-heeled shoes, Miss Win-
ters stood poised at the top of the stairs,
staring down into the faces of the buyers.
She took one graceful step and promptly
fell down the stairs. Inadvertently she
stumbled into the field of comedy. The
house was sold with laughter — but no one
bought the Schiaparelli copy on her
dishevelled back.
Morris wanted to fire her, but Kalman
liked her spunk, so Shelley became a stock
girl, helping the models and thereby earn-
ing a free modeling course, which she care-
fully took full advantage of. Working all
summer at twenty-five dollars a week, she
balked at finishing high school in the fall.
Her father was furious. He planned for
her to go on to college and become a law-
yer. He held no brief for the fine art of
dramatics so it was not mentioned again in
his presence. Father and daughter com-
promised. Shelley learned to put on her
make-up with the rumble of the subway
train at 6:30 a.m. She arrived at her model-
ing work at 7:30 a.m. After a full day, she
went to high school at night.
The jumbled montage of the next two
years had a definite pattern. Full of insa-
tiable curiosity and driving ambition, she
started her habit of doing at least four
things at once. During the day she
modeled for fifty dollars a week; at night
she filled herself with theatre at Pisca-
tore’s Dramatic School. Suddenly aware
of the world she wanted, her every free
moment was spent at the modern art mu-
seum, concerts, reading voraciously on
politics and philosophy, listening with
hungry ears to good music and sneaking
into theatres for the second and third
acts for free. And somehow she managed
the time to take out a marriage license.
She was going to marry a wonderful boy,
but she turned down 38th Street by acci-
dent on her way to get some feathers for
a hat. The International Ladies Garment
Workers Union was holding auditions for a
new play, for members only, of course.
“Are you sure you’re a sewing machine
operator?”
The bulletlike retort was becoming typi-
cal, “Sure, I’m sure. I’m Sonia Epstein.”
She got the part. She borrowed Sonia’s
union card . . . and marriage and the won-
derful boy were a thing of the past.
Somehow Blanche, her sister, and Moth-
er managed to keep her dramatic aspira-
tions from Dad even during the summer
months while she toured the Catskill
mountains in the summer theatres. It was
Blanche who loaned her the money to join
Equity when she finally got a professional
job in “Conquest” in April with Henry
Hull. The show flopped in Delaware and
never made Broadway. But it was a time
of decision for Shelley. She became a dedi-
cated actress. She would not go back
to modeling.
With that decision she faced Dad. The
fight could be heard in the upper reaches
of Brownsville. “He finally literally threw
me out of the house.” Threw her into
sharing one room with two other girls for
fourteen dollars a week. Forced her into
a wary but illuminating friendship w
those she had never trusted — girls. WI
you starve together, bring back food ii
the others after a date and lend and bi
row your best, love and warmth s<
through. Slowly human relations beco
understandable. There she found 1
dearest friend, Constance Dowling. A
it was from that one room that she wi
out one afternoon to leave a lasting i:;-^
pression on Charles Martin.
Charles Martin took her to a cockl
party and watched with amazement as s
tore through hors d’oeuvres like a tri
driver at a free lunch counter. “Why dc
I call down and order you a steak?” srl
gested Charles.
“Why don’t you?” was the quick answ;
He did. She ate. Then they went to dinnh
“How about a steak?”
“Fine — on the dinner and two chocol.|l
parfaits.”
After the theatre they went to El IV-
rocco. “Would you like something 3
eat?” grinned Charles.
“Now that you mention it, I could ft
a steak — on the dinner and . .
“I know, I know,” sighed the unbelk-1
ing Martin, “and two chocolate parfaits!1
But the “do or die” girl couldn’t staia
forever. Slowly off-Broadway shos
started coming her way. She worked wij
Elia Kazan’s Actors Studio. She worltM
in musicals. Hating them, she seemed sj
always get a job in them. “I was acci j
tomed to doing a solo in the chorus lijl
I always was two steps behind or tM
out in front.”
It was during a tour of “Meet the Peop 'i
that mature love hit Shelley. They met 1
Detroit. He was of the theatre. Tt|
talked the same language, were stirr-
lated beyond talks and the impulsive, cai
fully hidden Shelley submerged the dei-
cated actress Shelley. Just after Pe
Harbor, while playing Rosalinda in “1
Fledermaus” on Broadway, she had to <
cide which was more important — 1
actress or the woman. Harry Cohen,
Columbia Pictures, saw her performai:
and signed her to a contract. Her fi 1
picture was to be “Cover Girl.”
Immediately after that, her wonder 1
young man enlisted. Shelley’s choice vs
instinctive and complete. They were m;-
ried. She spent the next two months 1
a different kind of tour. She followed lr
husband from Louisiana to South DakT
while he learned of B-17’s. While Hau
Cohen tried to locate his new contract',
she was learning the beauty of shar ?
human relationships. All of her generosi ,
sensitivity, and pent-up emotions wi
given and received with delight. Wli
he was sent overseas, she picked up
threads of her career and moved to Hoi
wood. They wrote daily letters, but wi
he returned they were perfect strange s
They had nothing to say to each otb
After an attempt at annulment, Shel ;
sadly got a divorce.
Hollywood was a completely new ki
of world. For the first time Shelley tri
to conform. She let them redo her ha
line, fit her with long eyelashes, style 1;
hair long and change her walk. She v
a miserable and bewildered imitation
Rita Hayworth. After a year and a h; ,
Columbia dropped her contract. She v>
ashamed to go home. She had to m£
one hit before she went back.
She sat down and quietly analyzed 1
situation. She had conformed. She vJ
a walking carbon copy. She was unco :
fortable in the adopted personality sh I
used for over a year. The shrewd lil
girl from Brownsville returned to 1 ■
owner and made her important discovei
“It’s not by talent but personality that y is
become a star. And you have to be a s
before they’ll let you be an actress.”
planned to exploit her own individual pi ■
;onality. Not through a “date every night
aid being seen,” but by the very nature
>f herself. She would again make things
lappen. Back on an even keel with her-
;elf and an objective to gain, the indomi-
able will led her through the next heart -
n-eaking year.
She went to work in night clubs. Under
c different name, she sang from San Riego
0 the old Serenade Club on LaCienega
loulevard in Hollywood. The restlessness
ind insecurity lurked behind her determi-
nation. John Ireland helped her through
hat maddening period. He sat at the bar
fvhile she did her comedy routines and
ongs. After the club closed, they would
;o to a quiet cafe. Shelley would appease
ler physical and theatrical hunger over a
ate dinner and incessant talk of acting,
letween jobs, she picked up her unem-
iloyment check and headed for the race
rack with John. “The races were like a
isease. Something in me needed to go
nd gamble with that tiny check. When
hat bad time was over, I never went to the
aces again. I’ve never needed to.”
When the sun shone again on Shelley, it
/as typical that it shone from both the east
nd the west. Lawrence Langner wanted
er to replace Celeste Holm as Ado Annie
1 “Oklahoma.” At the same time, George
!ukor wanted her for “Double Life.” Shel-
jy had first signed the contract for “Okla-
f oma.” She also knew what the part of
le waitress in “Double Life” could do for
er career. So? Naturally, she tried to do
loth without telling anyone her dilemma,
he was running wildly from fittings for
ado Annie to fittings for “Double Life.”
ter conscience became a nagging, scream-
lg torment. At last she unburdened her
luilt to Cukor. He screamed with laughter,
inally, he got Lawrence Langner on the
hone. After everyone had a good laugh
ixcept Shelley, it was agreed that she could
0 both. The schedule was worked out.
1 “Double Life” the brilliance of her acting
bility was seen on the screen for the first
me. It brought an Academy Award nom-
lation and two pictures at 20th “Cry of the
ity” and “The Great Gatsby.” Then Uni-
ersal-International offered a contract.
Shelley has a long memory. She did not
irget her analysis — personality first, tal-
lt second. While her agent fought for
loney, Shelley stood beside him fighting
>r the right publicity. She got publicity
-some right and some wrong. But she will
ever deny that since that time she has had
tore than her share of a provocative press.
For it was immediately after signing the
mtract and hiring a press agent that
helley went to that very impressive party
Errol Flynn’s home. She is tongue-tied
ith only two people in the world — the
ueen of England and Clark Gable. She
as being happily tongue-tied with Clark
able in a corner of the living room when
ie commotion started at the door. Two
ilicemen strode in and walked up to
aelley, “Come with us, Miss,” they com-
anded. Shelley stood in the midst of her
•st party, shocked, shamed and fright-
ied. They refused to tell her what she’d
[ >ne or why she had to leave. As they
ok her out, one on each arm, a barrage
, flash bulbs went off. Sick and shaking
ie turned to Herb Stein and begged,
it ’lease call my mother and explain.” The
dice car took off with reporters still try-
t g to find out what the charge was. When
e police car pulled up to the Shrine
aditorium and the grinning cops invited
•r to come in and entertain at the Police
Jnefit, it took minutes for her to under-
hand what had happened.
■’ The next morning she understood when
t i e read the morning papers. The rest is
fi i vious. Shelley had become a star over-
sight.
'Simultaneously she became the Blond
Bombshell. Now strongly in the public
eye, her honesty, outspokenness and perma-
nent built-in temperament became color-
ful, magnified and debatable. The roles
that U-I put her in cemented the impres-
sion— “all hipswinging blonds daring some-
body to do something.” Her revolt at “It’s
just a movie, get it in the can” kept her
on suspension two years out of seven. When
she respected a role, she worked with
everything in her. If she didn’t respect
the role, her caustic remarks echoed
through the printing presses. Her un-
canny ability to say the right dramatic
thing at the right time helped build the
press Frankenstein that later caused her
to cry out in protest at the gross misunder-
standing. Shelley’s own urge to “make
things happen,” plus early publicity, which
made her a character before she could
prove otherwise, and the press itself taking
for granted she was the Bombshell with-
out checking her out personally, all had a
hand in creating the Saga of Shelley.
She learned a lot in those years. She
was the busiest actress on the sound stage.
Her curiosity had her questioning the sets,
cutting, musical scores, dialogue, directors
and evenutally production. “I’d even sweep
the floor of the stage if I could learn some-
thing,” she admitted. She also learned that
it can be a mistake to act in a picture!
In “Frenchy” she had a scene by her fa-
ther’s grave. The actress in her automati-
cally went to work to make it a moving
scene. It was so moving (and out of con-
text with the rest of the Western) that she
embarrassed the audience. “It was a mis-
take,” she said bluntly. Occasionally she
landed a role that she could believe in.
Between pictures like “Phone Call from a
Stranger” and “A Place in the Sun,” the
unpredictable Shelley would suddenly ap-
pear in a little theatre version of “Of Mice
and Men” or “A Streetcar Named Desire.”
Other actresses were appalled that she’d
take such a chance with her career. But
the restless need for perfection and crea-
tive work forced Shelley to seek variety
on the stage, while she played the same
part over and over on the screen.
In her personal life she was still full
of uneasiness with anyone outside of
theatre. She still found it extremely difficult
to trust. She still leaned heavily on male
companionship, “I prefer friends to lovers,”
she said glibly. But behind the quip her
sensitive nature was using the safety of
friendship, while still feeling the uneasy
fear of love. She met a wonderful man
and the surge of all her responsive love
went out to him. Then she decided he
didn’t want an actress for a wife. She had
the ability to turn her feelings off. At the
time she convinced herself that “the first
love of my life is theatre.”.
She also took a flyer in gracious living.
High in the Hollywood Hills she found a
dramatic home replete with flagstone, fire-
place, picture windows framing a magnifi-
cent view and a huge living room. She
fell in love again and became the epitome
of femininity. Her emotions took over and
conquered the driving aggression. She,
who had always been so casual clotheswise,
became the picture of allure in dramatic
lounging pajamas. Their only problem
was waiting. His divorce wasn’t final.
Eagerly anticipating the day he would be
free, she gave herself the rich joy of being
courted. This heady wine lasted until the
day he got his freedom. In panic, Shelley
flew to San Francisco, blindly busied her-
self and skipped the whole episode. She
drove it ruthlessly from her mind.
She continued to take her love out on
friends. Everyone who has become her
friend is a friend for life. She is gener-
ous and giving to a fault. She has driven
directors to distraction pushing them for
jobs for her actor friends. She uses her
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directness and strength with the same en-
thusiasm for someone she believes in as
she does for herself. She was delighted
when she and Farley Granger, a good
friend, co-starred in “Behave Yourself.”
They were given two round-trip tickets to
Rome by the producer, Howard Hughes,
as a “thank you” when they finished.
They flew to Rome and Shelley met Vit-
torio Gassman. All the odds of back-
ground, religion, language and geography
precluded any lasting happiness, so they
fell in love. For Shelley it was the free
pulsating love that she had waited for.
She knew no fear. They ignored the ob-
stacles and blithely planned to live six
months in Italy and six in the States. She
knew nothing of the Italian way of life.
She didn’t know that Italian husbands come
home at noon for lunch and spend three
or four hours with their wife and then
expect to go out to a favorite bistro at
night, talking business with friends while
the wife sits home. He didn’t know that in
America the complete sharing of a life
together on all levels is the basis for happy
marriage. They knew that love would con-
quer all. And so they were married.
Shelley gave herself completely to the
role of wife. She learned to cook spaghetti
fifteen different ways, became a devoted
sponge, absorbing his every mood, and her
acting ambitions became secondary to her
desire to see that Vittorio’s great talent
was recognized in Hollywood. But when
they were in Italy, Shelley felt uneasy and
away from home. When they were in Hol-
lywood, Vittorio was the one to feel root-
less. The delight they had found in dis-
covering that each was the owner of a
tremendous temperament turned to dismay
as they discovered they were using it on
each other. The thrill of discovering that
Shelley was going to have a child brought
them close together again for a while, but
the obstacles were too big in the long run.
Shelley was ill all during her preg-
nancy. She was watching television one
night with Jerry Paris, one of her closest
and best friends. They were making plans
to visit Marlon Brando on the set of “The
Wild One” the next day. Suddenly, right
then the pains began. It was eleven
o’clock that night of February the twelfth
in Hollywood. It was much later than that
in Italy where Vittorio was touring with
“Hamlet.” Jerry bundled Shelley into the
car for the hurried trip to the hospital.
In the elevator she suddenly turned and
said, “I won’t have my baby until Valen-
tine’s Day.” For the first time, her iron
will and sentimentality touched and
blended into one sweet purpose. She lay
quietly alone through that night and all of
Thursday refusing to have her baby. Her
doctor was amazed, “I’ve delivered a lot of
babies. I’ve never seen a woman decide
when she’ll have her baby by sheer
strength of will.”
She needed that will in the months to
follow. She faced the failure of her mar-
riage and decided to get a divorce. Both
tried to control their trigger-tight tempers,
but bitterness lashed out through the
press. Then the press had a field day.
Foreign correspondents misquoted Shelley
and the monster snowball of recriminations
took place. It took months for the anger
and hurt to drain them both and leave a
firm basis for friendship and sharing par-
enthood. Now they have a mature under-
standing of each other’s virtues and a dis-
regard for faults. Vittorio has taken his
place as friend instead of lover.
The baby changed her perspective com-
pletely. “I can’t be depressed. Every de-
cision I make now involves someone else.
The responsibility is sometimes frighten-
ing. I want so much for her, it’s become
a new world of looking into the future.”
Shelley has found another love to be
adored openly — and safely. Hers are t
loves now, Gina first, then acting.
Even while startling the industry a
public as well with a sudden whirl h
entertaining at a Las Vegas Club, 1:
thoughts were on her daughter and t
future. She was a smash hit with her b<
maneuver to get back in the public ey<h
careerwise. Having satisfied herself tl
she could always make a living in clu
she again sat down and analyzed her p
sition. She wanted very much to insc
the future for Gina. “I’m happy to p
taxes. But in any other business the olcb
you get, the more experience, the me
valuable you are. In this business it ji
isn’t true. I still want to prove myself i
an actress. I want to say ‘yes’ to the rig1;
picture and ‘no’ to the wrong one. Eve'-
time you’re dishonest you hurt somethij
inside yourself.” These observations r
suited in Gina Productions. With Unc
Ben handling the business end, Shell'
went into production of “Cash on D
livery” in England. She plays the part
a Jersey City canary. John Gregson ;
a magnificent foil for the fun. In tl)
picture, Shelley looks lovely. When cor,
plimented, she quickly started to expla:,
“It’s those wonderful English cameramc
they can make anyone look . . .” sudden r
she stopped and with a charming smile i:
awareness continued, “Thank you. I thi)
I looked terrific, too.”
Continuing to prove herself, she took t
role of Willa in “Night of the Hunter,” o
posite Robert Mitchum. Both of them f
under the spell of Charles Laughton’s wo
derful direction. In intricate, high-key
roles they both have probably given the
best performance to date. When she r
spects and admires her director, Shelley
as pliable as putty. It was obviously nr
tual admiration. Laughton gave her
picture sitting with John Engstead for
Christmas present.
Impatient to fill the year with as mai
good roles as possible, she flew back
England to play the German girl in “I A
a Camera.” She acquired an accent, fl ;
heels, dark hair and raced intense;
through the part so she could get back
Gina by Christmas.
She made the date and vowed never
leave her alone again. “I was so blue
England, missing her. While I was gor
she named herself Tordy. I missed part
her growing up. Wherever I go, she go
from now on.” Tordy has a miniatu
dressing table next to Shelley’s and th<
have long girl talks there. Not yet tw
Tordy is an intelligent, lovely child wi
an amazing knowledge of what’s bei
said. Shelley lavishes enough love ai
affection on her to more than make up f
the lack of parent. She has also chang'
Shelley’s attitude toward men. Now slfl
looks at her dates with that extra awar
ness. Would he be a good father? S)
hasn’t really conquered her fear of me
but with pretty Tordy as a daily outlet f
her love it will be easier.
The inner driving force of Shelley
changing. “I hope I’ve learned to be tac
ful, if not, I’m going to put adhesive tali
over my mouth. I know I’ve found sel
confidence. Now I understand securi
is simply feeling capable within yourse
And I’ve learned that maturity is a ve;
tough thing to achieve; it is no respect
of age. I’m not ambitious the way I us<
to be. I love acting, but I don’t want th
to be all of my life. I want a home ai
a husband (who is maybe in the bus
ness, but not an actor) and I want to ei
joy my child.
“You know it’s never really too late
learn?” she added.
No! It isn’t when like Shelley, you ri
most of the way.
The End
134
Man Alive
( Continued from page 40)
“I’ve got something to show you,
Chandler,” he announced dramatically,
nd then pulling himself up to full height,
aok out a long envelope from his pocket
nd waved it under Jeff’s nose. “This’ll
rove I’m a success.”
Jeff took the envelope, opened it and
rew out a check. “What’s this for?”
“It’s a royalty check, my lad. Remem-
er the record I made with Gloria De-
laven — ‘The Two of Us’ — the song I
mg in ‘So This Is Paris’? Well, this is
ly first royalty check. Get away from
le, boy! I can’t associate with you now.
his proves who’s the singer in this
•iendship. Why, the disk jockeys are
ilkin’ about me with honeyed words.”
“They must be nuts,” Chandler kidded
[fectionately.
“Aw, Jeff, if you work hard and train
our voice, you may have a chance, too,”
ony pretended seriousness and then the
erbal barrage of friendly insult began.
Then Tony finally left, everyone at the
ible was laughing.
No one is born laughing and to repeat
lat Tony is just naturally happy would
ave psychologists flipping. Happiness
ke success is earned — it depends upon
le individual and it depends upon his
cperiences. Some people never find
ippiness. Others, like Tony, are able
|i recognize and grab it — but who says
s easy? Today, Tony knows what he’s
)t — peace and contentment, the ability
i laugh and to love. As with his success,
; says he’s been lucky. Others have
;lped him, have shown him the way and
i remembers . . .
That late December afternoon in 1933,
hen a young boy trudged along the
affic-cluttered Second Avenue in New
ork City. It had been a gray, sunless
ly, with a feel of snow in the air and
>w dusk was enveloping the city, mak-
g the tall buildings seem even more
rbidding and remote. Often the boy
ould pause before a lighted shop win-
>w and play a timeworn game. He’d
ck out those things he’d buy if he had
ts of money; then he’d choose those
at could be bought with just a little
oney. Sometimes, if the store was a
rge one, he’d go inside and pretend he
as shopping, just to get warm. Today,
(i hesitated outside, determining whether
i : could linger inside unnoticed; then a
arp querulous voice demanded. “Boy,
ive you got a Christmas present for
mr mother yet?”
i Whirling around, he was half-inclined
run when he saw an elderly woman
aring down at him with impatience.
Veil, have you?” she demanded sharply.
“Then, here,” she said, thrusting a
lded bill into his hand. “See that you
s • get a present for your mother and
m’t spend this money on yourself.”
ten, turning, she walked quickly away,
fc Unbelievingly, the boy looked at the
11 clutched in his grimy fist. It was
i re dollars.
“It was a fortune then,” Tony says now.
aid I was too young to stop and won-
l*.r why a woman I’d never seen before
ould give me so much money. But I
ve thought about it many times since.
(■ know now that ft was a simple act of
t ndness, and I know, too, that kindness
ust be a part of everyone’s life. To find
i you must recognize that it exists.”
1 Tony grew up in a weathered tenement
Hell’s Kitchen. His father, Mono
hwartz, had been a well-known actor
Budapest and came to America to
iake his fortune. Times were hard and
aen Tony was born, Mono was still
struggling to learn English, a drawback
which kept him from earning a living
on the stage. In time, to support his fam-
ily, he turned to tailoring. Tony was still
a baby when they moved to Manhattan.
Here, among sordid surroundings, the
boy got his first education in a hard
school — on the city streets with the young
urchins of the neighborhood. Yet Tony
found kindness even here, for as he be-
lieves, people, given the chance, are in-
herently kind.
Like the day that Tony climbed the
cement pile. . . .
Next to the tenement in which Tony
lived, there was a vacant lot and, in the
center of this, surrounded by a clutter
of clotheslines where the housewives
hung out their washings to dry, was a
high, steep-sided mountain of rocks and
broken concrete slabs. Like any other
adventurous seven-year-old youngster,
Tony looked on that rock pile as a chal-
lenge.
One afternoon he tried climbing it, and
after much scrambling and many near
disasters, he reached the top. Sitting
there for a time, he contemplated his
victory and then started down. Then, in
terror, he discovered that it was much
easier to climb up than descend. Once he
almost toppled over but saved himself
by clutching the jagged end of a concrete
slab. It cut his fingers and they started
to bleed. He gazed anxiously at a lean-
ing telephone pole close by, but the cross-
arm was beyond his grasp. He began to
cry.
Suddenly a window in a nearby tene-
ment building opened and a boy, con-
siderably older than Tony, leaned out and
looked at him thoughtfully. A few mo-
ments later, he came and stood staring
up at the marooned youngster. Then,
quite casually, he began climbing the
leaning telephone pole which swayed dan-
gerously as he reached the crossarm.
Edging his way forward, he leaned out
and grasped Tony’s hand, swinging him
to safety.
“He held me with one arm while he
inched his way down that teetering pole,”
Tony said. “Then he set me on my feet,
gave me a pat on the shoulder and walked
away without a word. I never saw him
again, but I’ll never forget that act of
kindness. If I were left alone, I would
have gotten down somehow, but that boy’s
kindness meant a great deal to me — and
it still does.”
Tony also remembers a man by the
name of Paul Schwartz. He’ll never be
able to think of Paul Schwartz without
a feeling of fondness and gratitude. For
when he was eleven and belonged to one
of the toughest gangs in the section, Paul
took him from the streets and away from
the end that awaited so many of his com-
panions. He took the chip of sullenness
off Tony’s shoulder by talking to him in
the language of the street, the only lan-
guage the boy knew. Why did Paul
Schwartz do this? “For no other reason
than his faith in humanity, his belief in
human kindness,” Tony says.
But there were also unkindnesses in
Tony’s childhood. Like the woman who
owned the apartment which Tony’s folks
rented. “I hated her,” Tony admits today.
“She put us out in the middle of a period
when money for our family was hard
to come by. For months I brooded over
how I could get even. I realize now
that I was too ignorant then to know that
hate never helped anybody. Even that
woman, I’ll bet, hard and ruthless as she
was, must have had some good quality
in her if only I knew how to search for
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135
it. From her I learned something impor-
tant after I got a bit older. You can hate
qualities in people but you mustn’t hate
people themselves, for we’re all depend-
ent on each other. ‘No man is an Island,
entire of itself.’ When you realize this,
you find humility.
“I found humility as a kid. The first
time was when I was running around
with a gang of young East Side kids. By
that time I had a pretty good opinion of
myself. I was a good rough-and-tumble
fighter and one of the best pushcart raid-
ers in the district. I had a girl that I
kind of liked and she gave me the brush.
When she dumped me for another guy,
a little bigger and maybe a little tougher
than I was, I was bewildered. ‘What did
she do that for?’ I kept asking myself.
‘What’s he got?’ It took me a long time
to get it through my thick head that no
matter how good you think you are,
there’s always someone just a little bit
better. It taught me humility. To this
day, I know that if I ever let my opinion
of myself get lopsided, there’ll always be
someone around to pin my ears back.”
On the one occasion in Hollywood when
Tony needed to have his ears pinned
back he was able to do his own pinning.
When he first came to Hollywood, Tony
was uncertain, sensitive and inclined to
be moody. With his immediate success
in “The Prince Who Was a Thief,” his
studio bosses were a little concerned
about him. As Sam Israel, director of
publicity for U-I, says, “Some of us
thought Tony was becoming aloof, that
the initial successes he had might be af-
fecting him adversely, that he was losing
his sense of balance and value. We
needn’t have worried. Instead of getting
a swelled head, Tony was brooding over
what he considered his lack of experi-
ence. The more he gained confidence,
the more cooperative, the more willing he
was to exhaust himself in slugging work.
Not long ago we had to call off all activ-
ity and send him to the desert for a rest.
Not even his youth could stand up under
the punishment he was taking in riding,
fencing, dancing, singing, acting lessons,
the interviews and public appearances.
His enthusiasm and incredible willingness
to slave long hours in perfecting himself
is amazing. There’s no better kid in the
business than Tony.”
While preparing for his latest picture,
“The Rawhide Years,” Tony found he
could not ride well. For three weeks he
was astride a horse from nine till twelve
every day. At the end of that time, he
could do running mounts, hang by one
leg at a dead gallop and had a bag of
tricks that would convince an expert
that he’d been saddle-bound for years.
When he was asked to train for a
fencing role in “The Purple Mask” he
went into it with such fury that Ralph
Faulkner, his trainer, says, “Today Tony
is one of the finest swordsmen in Holly-
wood. His sense of timing is remarkable
and his muscular coordination perfect.
His eagerness to learn was beyond re-
straint and on one or two occasions car-
ried him beyond the point of safety.
Once, lunging forward, he forgot the
proper guard and got a severe gash on
his cheek. He laughed it off — but he
never made that mistake again.”
Pleased but worried about being cast
in the musical, “So This Is Paris,” Tony
was prepared to reward the confidence
placed in him. With Gene Nelson, who
coached him, he dedicated all spare time
to dancing lessons. “Tony started out by
knowing absolutely zero about stage
dancing,” says Gene, “but before we were
through he could perform with the best.
He has an instinctive sense of rhythm
and timing — two things that are gifts of
God. Without them, no matter how hard
you work, you’re sunk. But Tony never
took advantage of these talents, he worked .
twice as hard to develop them.”
Tony’s sense of duty continues to keep
him going at a fast pace. “Why shouldn’t
I work hard for people who’ve held out
a hand to me at every turn?” he asks.
“From the first morning I stepped on
the lot even the policeman at the gate
gave me a big smile and said, ‘Welcome.’
You don’t forget such things.”
Neither can Tony forget that he wants
to repay in some small way the kindnesses
shown him by holding out a helping hand
himself whenever he can. But when
pressed to talk about such instances, he
shyly begs off with, “I’d a lot rather talk
about those who’ve helped me.”
One instance he will discuss though,
with some pride, is how he helped a boy
get started and what a good job the kid
did.
“Harry was struggling along but with-
out much luck,” he explained. “He was
a wonderful guy but simply couldn’t get
the breaks. I’d been in Hollywood getting
my feet planted, but when I returned to
New York for a brief visit, I found Harry
sunk in despair. I brought him back to
California and introduced him to a few
casting directors. They clammed up.
Right then and there I learned a truism:
‘If you want to get something, go to the
head man.’
“I finally sought out the producer and
director of the film I was then making,
which was ‘Flesh and Fury.’ They were
terrific. They gave Harry a test and as-
signed him a small part as my kid brother
in the picture. He came through beauti-
fully and I got a terrific lift out of his
success. You know, I realized that true
happiness comes in proportion to the
good you’re able to do for others. For
days after, I walked around with a warm
glow. I thought I was helping Harry,
which I was, but I did a lot more for
myself when I got Harry that break.
“Sometimes you can try to help people
and bungle it by letting your ego get in
the way. This happened to me once.
There was another young actor in New
York — let’s call him Al. Things hadn’t
been going well with him and he came
and asked me if I could help him get a
spot in a show. I was lucky and found
him one — this was after I’d got going
pretty well in Hollywood — and for a while
Al did all right. But when the show
folded he couldn’t get on again and I
heard he was going around putting the
rap on me, saying the only reason I was
on top was I had the gift of gab and got
all the breaks. I kept my mouth shut
and didn’t say anything. Then one day
he braced me again.
“ ‘Look, Tone,’ he said, ‘I’m in a spot.
Could you maybe say a word in the
right place?’
“So again, through sheer luck, I was
able to help him land a part in a new
tv show. Later I saw him in it and
thought he was pretty good.
“Well, when that program was finished,
he was right back behind the eight ball
again, and once again I heard he was
knifing me. This time I burned, but I
didn’t put the finger on him — more be-
cause I was too busy than for any other
reason, I guess. But one night I met him
at a party.
“ ‘Tone,’ he said, ‘I just can’t get going.
Do you know of anything — ’
“I blew up before he had a chance to
finish. ‘Look, you so-and-so,’ I said burn-
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ing. ‘You’re loaded with nerve if nothii; ■
else. Here you’ve been trying to give rr
the business among my friends and no
you want me to help you again. Get o
of my sight.’
“That was the most unfortunate spee< j
I ever made,” Tony said regretfully,
should have realized that Al had to <
something to bolster his own pride at
self-esteem. Failure is an awful thin
It’s only human to look for someone el
to be the scapegoat. If our situations h;
been reversed, you know, I might ha'
been just as weak. What I said hurt n
a lot more than it did him. For wee)
I couldn’t throw off a feeling of havii
acted small.
“There was another time I acted selfisl
ly and I still can’t think about it withoi i
a pang of regret. It was a sweltering d;
and my young brother, who’s now dea
and I were playing in Central Park. W
were thirsty so we went looking for :
water fountain. We finally found one bi
there was a whole crowd of people wai
ing their turns. Finally my turn came u
but a grumpy old man impatiently pushe i
me aside before I was finished. I found
paper cup that was lying beside tl
fountain so I filled it up with the drij
pings. As I turned away, my brother, wl ,
was too small to shove his way to tl
fountain, thought I got the drink for hii •
He held out his hand, but instead of givir j
it to him I drank the water myself. N
long afterward my brother died. It w; ;
too late then to be thoughtful and I vowe j
if I had the opportunity, I’d never pa ;
up a chance to lend a helping hand agai i
And Tony has kept his promise. . .
Recently, a publicity man at U-I to
of seeing Tony rush up and give a delivei
boy a hand with a huge coffee tank whi<
he was trying to lift from the delivei ,
truck. The tank was heavy and the younf :
ster, lacking a helper, was having difficul' i
in handling it. Tony grasped one side ar i
together they wrestled the urn onto i i
stand. “A lot of other actors were stanc j
ing around, but it never occurred to oi ;
of them to help,” the studio man sai
“Tony didn’t wait to be asked.”
Tony’s genuine warmth and liking <
people has no racial barrier. While makir j
“The Purple Mask,” a publicity represent; <
tive said, “Tony noticed a Negro be
extra who was standing around betwee '
scenes, looking lonely. He went over ar
talked with him; after that, during tl :
breaks, Tony made it a point to bring tl i
boy into the conversation and the betweei
shooting bantering in an easy, casual ar
friendly way.
As Jose Ferrer says, “Tony has tl I
greatest sense of responsibility to his fe i
low man I’ve ever encountered.”
And the George Washington Carvi ,
Memorial Institute has confirmed this. Fi
a few months ago, Tony Curtis was narru .
by this Institute for the annual Award
Merit, given for outstanding contribi
tions to interracial unity. Dr. Robert )
Hobday, the Institute’s president, annour
ced that the award was being made “f<
the actor’s assistance in the organizatic
of Carver Youth Clubs to combat juveni
delinquency and for his active sponsorsh
of education libraries in Negro schools.
Tony accepted the award with gratitud
saying later, “How lucky I’ve been. Witl
out the help of many people, life for n
would not have turned out so well. Almo
invariably everyone has been kind. I’'
met genuine good will everywhere.”
And to Tony, from his thousands
fans, his hundreds of co-workers and fro
the many acquaintances and friends hr
made since he moved to Hollywood, com'
a warm feeling of gratitude, for we, to
feel, how lucky we are.
The End
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A Breck Shampoo is not drying to the hair, yet it cleans
thoroughly. The Breck Shampoo for your individual
hair condition leaves your hair soft, fragrant and lustrous.
The Three Breck Shampoos are available at Beauty Shops, Drug Stores, Department Stores and wherever cosmetics are sold.
I Copyright 1955 by John H. Breck Inc.
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Why are more and more
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PHOTOPLAY
JUNE 1955
FAVORITE OF AMERICA’S MOVIEGOERS FOR OVER FORTY YEARS
HIGHLIGHTS
They Kissed and Made Up (Jeff Chandler) Diane Scott
“Marty”
Water Witchery (Inside Stuff) Cal York
Atom Blonde! (Doris Day) Wynn Roberts
He’s George! (George Nader) Don Allen
Gold Medal Glamour Girls
What Are Angels Made Of? (Pier Angeli) Maxine Block
The Boy Who Swallowed a Dream (Aldo Ray) Aljean Meltsir
Little Girl No Longer Lost (Jane Powell) Ruth Waterbury
There’s Many a Quip About a Honeymoon Trip Sheilah Graham
Bing Goes that Crosby Myth ! Maxine Arnold
Pandemonium Reigned in Paradise (Mitzi Gaynor) Robert Emmett
A Character — But Still Brando (Marlon Brando) Ernst Jacobi
When a Star Finds Heaven (Kirk Douglas) Fredda Dudley Balling
Move Over for Jane Russell! Dee Phillips
Terry Moore’s Designs for Fun
Photoplay Star Fashions
Hollywood Fashion of the Month
Needle News for Summer
8
35
37
39
41
42
44
46
48
53 :
57
61
62
65
67 ■■
68
69
77
92
STARS IN FULL COLOR
Donna Reed 36
Janet Leigh 36
Mona Freeman 36
Mitzi Gaynor 36
Elaine Stewart 36
Doris Day 38
George Nader 40
Anne Francis 42
June Allyson 42
Janet Leigh 43
Barbara Rush 43
SPECIAL EVENTS
Kim Novak
43
Pier Angeli
.... 45
Aldo Ray
47
Jane Powell
49
Marlon Brando
63
Jane Russell
.... 66
Hollywood Parties . .Edith Gwynn 4
Let’s Go to the Movies Janet Graves 14
The Hollywood Story
Shirley Thomas 20
That’s Hollywood . . Sidney Skolsky 24
Hollywood Whispers Florabel Muir 26
Impertinent Interview
Mike Connolly 28
Readers Inc 30
Laughing Stock Erskine Johnson 32
Brief Reviews 88
Casts of Current Pictures .... 104
Cover,: Color portrait of Janet Leigh, starring in Columbia's "My Sister Eileen /’ Warners' " Pete
Kelly's Blues " and RKO’s "Jet Pilot" ; by Ornitz. Swimsuit by Rose Marie Reid, swimcap by
Playtex. Other picture credits on page 78
EDITORIAL S^AFF
Ann Higginbotham — Editor
Ann Mosher — Supervising Editor
Evelyn Savidge Pain — Managing Editor
Rena Firth— Associate Editor
Janet Graves — Contributing Editor
Margery Sayre — Assistant Editor
ART STAFF
Ron Taylor — Art Director
Norman Schoenfeld — Assistant Art Director
FASHION STAFF
Lillian Lang — Fashion Director
Hermine Cantor — Fashion Editor
HOLLYWOOD
Sylvia Wallace — Editor Joan Radabaugh — Assistant West Coast Editor
Contributing Editors: Maxine Arnold, Jerry Asher, Ruth Waterbury
Photographer : Phil Stern
JUNE 1955 VOL. 47, NO. 6
.ill. PHOTOPLAY IS PUBLISHED MONTHLY by Maefadden Publications, Inc., New York, N. Y.
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Just friends, say Rhonda Fleming and Har
Karl as they congratulate Jeff Chandl
on his benefit performance at the Mocaml
Quenching rumors that he’s had a change ,
heart. Rock Hudson turned up to hear Bt
Hope at Mocamjbo with steady, Phyllis Catt
HOLLYWOOD
PARTY LINE
two weeks of the past month will go
down in Hollywood history — that’s fer
sure! I'm speaking, of course, about
the celebrity sessions at Mocambo
which were staged to bolster its owner,
popular Charlie Morrison, who’d been
stricken by a stroke and confined to a
wheel chair. There were more stars
performing than there’s room to kudo
or mention, taking their turns night by
night and drawing crowds that bulged
the bistro’s walls!
Dan Dailey and cute Joanne Gilbert
played to a packed house as did Ab-
bott and Costello, Jeff Chandler, Van
Johnson and Eileen Barton, Danny
Thomas and Dinah Shore. Kay Thomp-
son, Bob Hope and others. Dan in-
terrupted his honeymoon with Gwen
O'Connor to go on. Bob Hope, bless
him. turned down fifty thousand dol-
lars a few months ago to play a Las
Vegas spot for three days, but he went
on at Mocambo for free — and it was
the first cafe appearance of his life.
Hope was only grrrrreat! Holly wooi
got its first squint at the act Van John
son did in Vegas and in the East las
year — and his charming song and danc
stuff slayed ’em! Zsa Zsa Gabor ring
sided with Franchot Tone on Van'
night; and Kim Novak (poured into ;
slinky dress again) was with Dr
Ernest Wilder. The Gary Coopers
Frankie Sinatra with Peggy Connolly
Shirley Jones and Johnny Anderson
Lana and Lex Barker, also on ham
. . . . Night Bob Hope, Kay Thompsoi
and Don Loper went on I spotted Rod
Hudson with Phyllis Gates, Ann Millet
and Bill O’Connor and scads more
Scads of stars applauded like crazj
for Dinah Shore and her wonderful act
the night she, Danny Thomas and Alar
Jones (happily reconciled with Irene
Hervey) took over. Lana and Lex made
a foursome with Joan Caulfield ano
Frank Ross. Both these blond dolls
were in simple, sheath -type black
gowns; Joan’s only adornment being a
Continued
4
THOSE “ GLENN MILLER STORY ”
SWEETHEARTS CATCH FIRE AGAIN!
It’s the great human drama of the men
who guard our skies and the women who wait
and wonder and sometimes weep!
JAMES JUNE
STEWART ALLYSON
Air Command
The picture with a striking force second to none!
Color by TECHNICOLOR
co-starring
FRANK ALEX BARRY BRUCE
LOVEJOY- NICOL SHIM ■ BENNETT
Produced by SAMUEL J. BRISKIN • Directed by
ANTHONY MANN • Screenplay by VALENTINE DAVIES
gjjfe and BEIRNE LAY, Jr. • Story by Beirne Lay, Jr.
A Paramount Picture
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HOLLYWOOD PARTY LINE continued,
sunburst diamond pin plus diamond
earrings, and Lana sported mucho
pearls — several short strands of large
pearls at her throat, and pearl earrings.
They were stunners!
Topping off the series of special oc-
casions at the Mo was the birthday
party Harry Karl tossed himself. He
had about a hundred guests — and
Rhonda Fleming, in black lace- and her
hair dyed flaming red, hostessed the
hoe-down for Harry. Evie and Van
Johnson. Sonja Henie with Lee Liber-
ace, Jeff Chandler and his Marge, the
Ronald Reagans, Esther Williams, the
Dean Martins, Judy Garland and Sid
Luft. Barbara Hutton and Hal Hayes —
were just a few on Karl’s party.
Only one important opening occurred
during the past semester — and it was a
dilly! Hollywood finally got its gander
at “The Caine Mutiny Court Martial”
when it debuted at the Huntington
Hartford theater with the Broadway
company including Lloyd Nolan, Barry
Sullivan and John Hodiak. All three
gents were promptly bombarded with
praise and picture offers. Saw Terry
Moore with producer Paul Gregory
and the Charles Laughtons; Sheree
North with Tony Craig; John Wayne
and his tiny Pilar Palette, she in a
fabulous silver-blue mink coat. Also
Eleanor Parker and Paul Clemens, Jean
Simmons, a standout because she did
not wear mink, but sheared beaver!
Something different was the party
Maureen O’Sullivan staged for her
friend. Sybil Connolly, the famed Irish
dress designer visiting Hollywood.
Maureen O’Hara modeled some of
Sybil’s Irish linen dresses, fancy petti-
coats. coats and shawls — all hand-
woven on cottage looms— and then
O’Hara and her Ma gave out with a
bunch of Irish songs. Enjoying it,
among others, were the Bob Hopes,
Joan Fontaine and Collier Young, the
Van Johnsons, the Dan O’Herlihys,
and Gracie Allen and George Bun
The Frank Loessers (he’s the coi
poser and lyricist of “Guys and Doll
y’know) tossed one for lovely Li
Renaud. the Franch chantootsie “d
covered” in Paris by Bob Hope coup
of months ago. At the Loessers’,
heard Bill Holden talking sports-c
stuff with a couple of people for hou:
He’s nutz on the subject. Among t
two hundred or more guests were t
Charles Boyers, Jane Wyman (all alo
— and wearing a cream-colored, blac
belted, cocktail dress of chiffon), t
Alfred Hitchcocks, Vivian Blaine (s
in black chiffon), Greta Peck wi
Stefan Arnsten, Vernon Duke, ai
Gracie Allen.
At another soiree, Jan Sterling, us
ally suavely clothed, was going t
ingenue route with a pale pink, oh,
fluffy dress. And Katy Jurado was g
ing Kim Novak some competition in t
“how tight can a dress get” depa
ment. Kim, in a slick white lace gow
gave out with lots of Marilyn Monrc
type wiggles every time she danced
walked across the room. Vivid Ka
didn’t wiggle but she wore a low-c
form-fitting gown of white satin,
beautifully draped where the drap
counted most — you’d have thought s
was wiggling anyway. Her charms we
not lost on Marlon Brando (immac
lately done up in Tux) or Jeff Richar
and the other gents present.
The party rounds recently bear o
Don Loper’s “prediction” that sprii
fashion would have a new spring in it
if you’ll podden the pun. Most of t
gals seem to look taller and slimm
with the longer, leaner torso lines, i
dented at the waist — natch — and a lea
ing to slimmer skirts, especially f
daytime wear. Don’s new collection
full of dresses with straighter-tha
usual lines — and usually with matchii
coats of light wool. And there w
hardly a black outfit in sight!
Seeing how things look from the au-
dience view are Howard Keel and mis-
sus. Obviously Howard's enjoying it all
Holding hands in complete oblivion
anything but the show are Lana Turn
Lex Barker who deny trouble at hoi
6
URNER
WAYN
m A skipper
¥ sworn i
i never to M
be taken! m
C/MemakScOPE
WaRNERColoR Stereophonic Sound
.Across 26,000 miles of terror-swept ocean from Pom Pom Galli
to the North Sea he ran and hit, and ran again! The mighty sea hunt for the man
turned renegade by a girl whose tempting lips half-the-world wanted to keep shut!
ALSO STARRING |— |-w . .
david Farrar -lyle Bettger - tab Hunter with JAMES ARNESS • DICK DAVALOS
DIRECTED BY JOHN FARROW Screen Play by JAMES WARNER BELLAH and JOHN TWIST
m
Another great role for that ‘Battle Cry’ guy
p
Facing a future without the other , realiz-
ing how much they’d had, decided Marge
and Jeff. “We know what we have now —
we’re going to hold on to it this time.’’
THEY KISSED AND MADE UP
Love has finally found
the way to bring Jeff
and Marge together.
This time, they are sure,
for keeps
• “I’ll be loving you — always . . Jeff Chandler
sang across a crowded room, straight into the eyes of a
girl whose radiance gave her own heart away. A lovely
redhead named, naturally. Marge.
All of show business was taking a nostalgic turn at
the mike of the Mocambo. Tonight Jeff Chandler was
heading the show. But for these two, Jeff and Marge, it
was more than a show; more than a song. It was a pledge
as sacred in its way as those wedding vows they had
BY MAXINE ARNOLD
Continued
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THEY KISSED AND MADE UP continued
already twice exchanged in good faith.
Jeff sang to the twinkling accompani-
ment of a kingdom of lights below, a king-
dom founded on love stories. And al-
though they did not know it, the crowd
was applauding the happy ending of an-
other love story that had as many conflicts
as any one Hollywood ever filmed. The
love story of two fine people for whom
even then, so many were saying a small
prayer.
Sparked by his own happiness, Jeff’s
was an inspired performance this night.
But it was Marge who revealed, too, that
for them this was more than just an en-
chanted evening. “You must be very proud
of him tonight,” a friend remarked to her.
“I certainly am proud of him.” Marge
beamed, adding, quietly and significantly,
“. . . and I always have been.”
Marge’s and Jeff’s reconciliation wasn't
as sudden as it may seem to outsiders.
As Jeff says now, “We’d been talking
about it for six weeks, seeing each other,
going out together — and talking. That
might at the Mocambo, we just about
iknew then. . .
“We think — -we know— this time it’s
i going to stick,” he says slowly, savoring
fevery word. “This is going to be it.” And
le adds quite unnecessarily, “We’re both
/ery happy now.”
Happy? You could set lyrics to Jeff’s
oice today and to Marge’s radiance. But
hen, they were still in love when they
eparated a year and a half ago. When
hey gave Photoplay’s reporter their ex-
lusive story, saying with sad resignation.
It just seems there’s no other way.”
Marge had one concern about talking
hen. “You must talk to Jeff. You really
hould talk to Jeff —
Jeff had one concern. “Be sure Marge
sees this.”
Perry Como’s record of a beautiful love
song was sweeping the country. A song
that summed them up so well that we in-
cluded it in their story, “No Other Love
Have I.” Certainly no other love had Jeff,
and no other love had Marge. Nor was
either ever likely to have.
Jeff was then on location way out in the
San Fernando Valley making “Yankee
Pasha” when we took the finished story
to him to read. It was about sundown when
we found him. Jeff was heavy-voiced and
feeling very six o’clock. He looked at the
title. He read their own words. Words
which brought back too many vivid mem-
ories, including those of his daughter,
Jamie, who asked the question neither of
them could answer. “Daddy — why aren’t
you living at home?” He turned and
walked away. With the director, his co-
star and all the company waiting. Jeff
Chandler cried. He had one parting word.
“Marge will see this?” he said.
That night we took their story to Marge
— to the house they’d shared on a quiet,
tree-lined street in Hollywood. A house
with all its lights blazing bravely away —
to hide its emptiness. Marge looked at
the story. “Jeff called me.” she said finally,
“and told me about ‘No Other Love Have
I.' I went out and bought the record.”
This was a break-up?
How long, we wondered, would it take
love to find the way to get our heavy-
hearted friend and this lovely, lonely girl
in a house so ablaze with light — back to-
gether again?
It would take almost too long.
They were missing happiness together
by so little — yet, seemingly, by too much
to bridge. As Jeff said sadly then, you
could call theirs a near-miss. “That’s what
it’s been really. We just couldn’t quite
make it. But it’s been in many ways very
near. And we have great rapport still —
in so many things.”
Jeff was sure Marge would be happier
without him. “I'm just not equipped to
give Marge what she wants, to be what
she wants as a person. What I have to
offer just isn't sufficient for what her
happiness demands — temperamentally,
personality-wise or emotionally. It’s like
a baseball player trying to make the
major league with bush-league qualifica-
tions. I’m just not right for her.”
Marge, on the other hand, was equally
sure Jeff was happier living away from
her. Being able to wrap himself in his
work and his worries and silent moods —
without feeling any need of sharing them
with her. Now when he came to the house
to see her and the children — they could
talk like good friends. All the tension was
gone. “Jeff's much happier this wy —
I’m sure.”
And Marge summed up not only their
own feelings, but those of all who know
them with, “It’s the saddest thing in the
world. Two people who are in love with
each other — but who still can’t live to-
gether.” Also, we thought, two who be-
longed together as few in this world ever
do, two whose love had already survived
so much — and two who still loved so much.
There was no third party involved. For
either of them. During the months they
were separated, both of them dated casu-
ally. Jeff’s name was linked with various
screen glamour girls, and more recently,
with Betty Abbott, Universal-International
script girl. (Continued on page 105)
eff Chandler is in “Foxfire”
No need now to be just a visitor in his house, to be away from
happy-go-lucky Dana , face the hurt wonder of Jamie’s “Why p
doesn’t daddv live home?” A relaxed Jeff smiles with Marge, the
strain gone. “It’s a wonderful feeling that exists between us”
t
ie Chandlers’ reconciliation wasn’t as sudden as it may have
emed. As Jeff says now, “W e’d been talking about it for more
an six weeks. Seeing each other. Going out together. And talk-
?• That night at the Mocambo — we just about knew then . .
11
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12
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13
THE
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Best Acting: Richard Todd
A Man Called Peter 20th; cinemascope, de luxe coloJ
V'V'V' Richard Todd’s vigorous performance, full of heai
and fire, is the mainstay of an inspirational drama draw
from fact. Todd plays the late Peter Marshall, Scottish-bor
minister who eventually becomes chaplain of the U.S. Senate
In his native country, he feels a sudden, powerful call t
enter the ministry. With the conviction that God intends hir
to serve in America, he emigrates. From his first church, ii
a small Southern town, he goes to Atlanta and then to Wasln
ington. D. C. In a movie with few elements of conflict, th
narration by Jean Peters (sympathetic as Todd’s wife) help
to give shape to the story. But the highlights are actually th
sermons. Here Todd expresses faith that is strong, happ
and deeply personal, so that you understand why the mar
he portrays filled churches to overflowing. famil
Jean’s long illness sorely tries her faith — and Richard ’
The Prodigal m-c-m; cinemascope, Eastman colo =■
V'V'V' With Edmund Purdom as the Prodigal Son, the simph
outline of the parable has been expanded into a spectacle o j
ancient times. Son of a prosperous Jewish farmer (Waite
Hampden), Purdom is about to become engaged to a genth
girl of his own faith (Audrey Dalton), when a violent in
fatuation leads him to desert her and his home. His belovec
is Lana Turner, alluring in the scanty garments of a pagai
priestess. Though her duties include offering herself to al
men who will present gifts to the goddess Astarte, though
Purdom’s love for her ends in his ruin, she isn’t a figure o
pure evil — rather a woman who believes sincerely in her bar
baric religion. Louis Calhern handles the real villainy, a:
priest of the god Baal. The film strays somewhat from th<
spirit of the gospel story, but just as melodrama it carrie;
force. adul
Lana’s beauty baits the trap that Calhern sets for Purdon
Cell 2455, Death Roiv COLUMBI
V'V'V' In its cool and merciless detachment, this close-up of i
youthful criminal approaches the manner of a documentary
And William Campbell’s acting is thoroughly in key — forth
right, realistic, with no begging for sympathy. The picture is
based on Caryl Chessman’s autobiography, written in :
California death cell, as the convicted man repeatedly won
reprieves through legal knowledge gained in prison studies
There the story starts, with Campbell looking back over the
wreckage of his young life. Robert Campbell, Bill’s brother
appears in teenage sequences as a kid who begins by stealing
food, then steals cars and becomes leader of a gang. Bill
takes over as the adult criminal, intelligent but lacking in
moral sense and the capacity to love anyone but himself
Marian Carr plays the minor role of his girl. adul-
A word of distrust from Marian Carr enrages Bill Campbel
P
N ORE REVIEWS ON PAGE 16
BRIEF REVIEWS OF CURRENT FILMS ON PAGE 88
FOR COMPLETE CASTS OF NEW FILMS SEE PAGE 10‘
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Most of the girls of her set were married
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quickly turned to indifference. Poor girl!
She hadn’t the remotest idea why they
dropped her so quickly . . . and even her
best friend wouldn’t tell her.
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MOVI ES
continued
The End of the Affair Columbia
VW Thanks to Deborah Kerr and Van
Johnson, this thoughtful movie has marked
appeal as a love story. However, its re-
ligious aspect is not presented so clearly.
Deborah is the wife of a dignified Brit-
ish government official (Peter Cushing),
whose affection is hidden behind stiff re-
serve. She and Van. a writer, fall des-
perately in love. But Van’s doubting and
Discovering too late what Deborah has been
going through, Van realizes he has lost her
jealous nature drives them apart. Through
flashbacks that add to the complexity of
the story, it is revealed that Deborah has
been searching her beliefs, as well as her
heart. adult
Tight Spot COLUMBIA
VW Ginger Rogers does an admirable
job in this neat little crime thriller. With
both humor and credible emotion, she
plays a tough, pert convict who is tempo-
rarily released from jail and given a taste
of luxurious hotel living. Her testimony
can doom a racket boss — if she chooses
to give it and if some hired gunman
doesn’t silence her first. Both federal at-
torney Edward G. Robinson and detective
Brian Keith try to persuade her to talk —
Keith with a romantic approach, family
To Paris with Love rank, technicolor
VVV In an airy farce with lovely Paris
backgrounds, Alec Guinness plays an-
other of his stuffy British gentlemen, for-
ever getting into unseemly situations. A
widower, he takes son Vernon Gray on a
holiday in France. Each thinks the other
is too little experienced with women. So
Alec plots to get Vernon together with a
piquant young salesgirl, while her mature
and charming boss is Vernon’s choice for
Alec. But the ladies have other ideas
about how to pair off. The mix-up gets un-
scrambled at leisure, with some giddy
slapstick interludes. adult
An Annapolis Story a.a., technicolor
VVV Life at the U. S. Naval Academy
gets a thorough survey in the absorbing,
unpretentious account of two brothers’
training there. John Derek is a brash
youngster; Kevin McCarthy, the older and
more serious-minded. Devoted at first,
they become estranged after John’s sud-
den romance with Kevin’s fiancee (Diana
Lynn). There’s an actionful climax as
the brothers fly jets over Korea. family
Umberto D. harrison and davidson
VVV Heartbreaking and beautifully made,
this Italian film focuses on a tragedy too
common in big cities. In the title role,
Carlo Battisti is an old man utterly alone
in the world, trying hopelessly to get by
on his small government pension. A young
serving girl in the house where he rooms
is kind to him; but it is only his devotion
to his little dog, his dearest friend, that
gives him an incentive to go on living.
(Italian dialogue, English titles.) adult
Canyon Crossroads u.a.
VV Here’s a brisk Western with engag-
ingly up-to-date trimmings. Richard Base-
hart and Phyllis Kirk make a rich ura-
nium strike, only to find that claim jump-
ers are still a threat, as in the old days
of gold. And a hero’s situation is even
tougher when the villain gunning for him
is mounted on a helicopter instead of a
horse. family
Jump into Hell warners
VV Though a tribute to the defenders of
Dienbienphu is a worthy project, this war
film doesn’t do full justice to its theme.
The characters are too lightly sketched
to win interest as individuals. Among the
Frenchmen volunteering to serve in Indo-
china are Kurt Kasznar, hefty and good-
humored, and Jack Sernas, a young man
in love with the wife of a fellow officer.
Peter Van Eyck plays a Foreign Legion-
naire who once served under Rommel;
Arnold Moss is the commander. family
Shotgun a.a.
VV In a tough, straightforward chase
story. Sterling Hayden’s a deputy seeking
the killer of a U. S. marshal. He acquires
unexpected company on the trail: Yvonne
DeCarlo. an embittered woman who’s been
traveling with the outlaw’s gang; Zachary
Scott, a debonair “bounty hunter,” mak-
ing a living by killing wanted men to
collect the reward. At the windup, the
murderer is found — in an Apache camp.
And it’s the Indians who call the ground
rules for the finish fight. family
Mambo PARAMOUNT
VV An ornament to many Italian movies,
Silvana Mangano doesn’t come off too well
in this English-language film, shot in
Venice. She’s hampered by unbecoming
make-up and an undistinguished story.
As a young girl fighting poverty, she tri
three escapes: a career with the Kath
rine Dunham dance troupe; life with <
unscrupulous lover (Vittorio Gassman
marriage to a wealthy nobleman (Micha
Rennie). Shelley Winters has a compar
tively brief role as the dancers’ manage I
fiercely ambitious for Silvana. Adu
The Wayward W'ife i.f
VW Italy’s luscious Gina Lollobrigic
decorates a drama that’s generally effe
tive, in spite of its garish emphasis c
sex and its confusing flashback techniqu
When Gina’s romance with an aristocr,
is shockingly cut short, she marries i
young scientist (Gabriele Ferzetti). U
able to love her quiet husband, she
drawn into a shabby affair through tl
machinations of a middle-aged adventure:
(Alda Mangini, doing a frightening po
trait of sheer wickedness). Inevitabl
Gina becomes a blackmail victim. Tl
dialogue’s in English, dubbed with u:
usual smoothness and skill. ADu
Gina Lollobrigida’s vacation is over, but si
happily believes it has brought her real lot
Cult of the Cobra i
VV Moviegoers who aren’t feeling to
skeptical will get a satisfactory quantit
of chills from this creepy fantasy. Richar
Long, Marshall Thompson and four othe
GI’s, somewhere in Asia, invade the ten
pie of a snake-worshipping cult — an
thereby draw a curse on themselves. On
is promptly killed; vengeance pursues th
others even to New York and civilian lif>
Agent of the cult is Faith Domergue. wh
has the useful ability to turn herself £
will into a deadly cobra. But even th
snakewoman isn’t immune to love, famil
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17
ROMANCE
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continued
The Big Combo A
// Efficient acting by a good cast heigl
ens the impact of a blood-spattered coj
and-robbers story. Cornel Wilde’s t
stubborn detective out to smash the sy
dicate headed by Richard Conte, i
Conte’s unhappy girl friend. Jean Walla
is a figure of pathos; so are Helen Walk)
as his discarded wife, who knows t
much, and Brian Donlevy, as his COW'
lieutenant. Minor roles are well playe
too, with Lee Van Cleef and Earl Hoi
man scoring as a deadly but semi-con
pair of triggermen. AD,
Rage at Dawn rko, technicoi.
// A modest but convincing account
banditry in the Middle West of 1866 giv
Randolph Scott a vigorous action ro
He’s sent by a detective agency to bre,
up a gang of outlaw brothers that don
nates an Indiana community, corrupt!
its officials. With his assistant (Kenne ;
Tobey). he pretends to be a bandit hi
self, maneuvers the brothers (notaf
Forrest Tucker and J. Carrol Naish) ir
becoming his confederates. But the oi
laws’ law-abiding sister (Mala Power
complicates matters. fami!
Seven Angry Men i ,
// The saga of John Brown has a natui
fascination and power, somewhat cut doi
here by unimaginative handling. Raymo
Massey plays the fanatic who wants J
free the slaves, by violence if necessa :|
and doesn’t hesitate to sacrifice his o1
sons in the fight. Sick of bloodshed, soi
of them desert him, but Jeffrey Hunl
and Tom Irish remain loyal to the fate
finish, at Harper’s Ferry. Debra Paget i
affecting as the girl who marries Jeff
spite of her fears. fam
The Looters
// After a promising start, this me
drama slips into implausibility. At ;
hunting lodge in the Colorado mountai i
Rory Calhoun has a self-invited gue
no-good but ingratiating Ray Danton. i
ex-GI pal seeking a handout. Both go 1
the rescue of a downed transport pla
finding Julie Adams (an apparen
shady lady) among the few survivors. T
trek out of the wilderness is extra ris
because the plane carried a shipment
cash, rousing murderous greed. Mount:
troops figure in the finale. fam
Revenge of the Creature
vV That thing from the Black Lagoon
back. This time an expedition headed
John Bromfield captures the prehisto
Gill-man and takes him to sad imprist
ment in a Florida aquarium. Scient
John Agar and college girl Lori Nels
study the creahire’s reactions (falling
love with each other while they’re at i
Then the Gill-man escapes, to terror
the seacoast. He's vanquished at the e
— but is he dead??? fam
18
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HOLLYWOOD
BY SHIRLEY THOMAS
NBC's Hollywood Correspondent
Early in World War II, in the town
of Arnhem, Holland, a young girl,
twelve years old. hesitantly made her
way down one of the side streets.
This is the way this story begins, and
it is more like a play, a drama, the
product of a writer’s imagination than
it is like life. Yet it is a true story.
War is a little word to describe a big
disaster. Everything about it is big.
Millions of men in uniform, hundreds
of thousands wounded, thousands dy-
ing. Billions of dollars, thousands of
planes and tanks and ships, tons of
food and ammunition and supplies.
Off the front pages and in the heart
and mind of a small girl, war is many
things — all of them personal.
Food so scarce that hunger pains
are a constant companion. Half a loaf
of bread and a pound of potatoes — a
week’s menu for the girl and her
mother. Jewish playmates rounded up
by Nazi soldiers, herded into trucks
as you watched with terror, driven
away to . . . Yes, where to? The un-
forgettable sight of a brother taken
away by force, to slave in a labor camp.
A cousin, a member of the royal court,
killed. An uncle, one of the best-known
lawyers in the country and one of her
best-loved relatives, stood up in front
of a firing squad with other hostages,
and slain — as a warning to other citi-
zens not to work for the Underground.
Despite the dangers and pitfalls,
possibilities of capture and death, the
girl did what she could. She distributed
anti-Nazi literature for the Under-
ground. She helped to gather food and,
at great personal risk, to take it to
Allied pilots who were in hiding until
their passage to England could be ar-
ranged. On her way to and from school,
Continued
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Beauty Director of New York’s Noted Conover School
Dame Fortune made up for the years of horror
stopped to corral a few more. Taking
a long chance, the girl turned and ran.
She stayed in hiding, in a damp, dark
cellar, for a month.
Finally, the war came to an end and
people picked up the shattered pieces
of their lives. As if to make up for the
years of horror. Dame Fortune show-
ered good fortune upon the young girl.
Her first Broadway play a great suc-
cess! Her first motion picture, one of
the triumphs of the year, also won her
an Academy Award as Hollywood’s
best actress. And, to top it all, marriage
to the man she loved. The courageous
little girl? — Audrey Hepburn.
Listen to Shirley Thomas from Hollywood on
NBC Radio in the Pacific coast area at 5:30 p.m.,
PDT Sundays. Also to Shirley Thomas Reports
on Weekend, 3-5 p.m., EDT Sundays, over NBC-
Radio. Consult newspapers for time and station
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22
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C^Cu^olci
THE HOLLYWOOD STORY
continued
she frequently carried messages for the
Underground workers in her shoes.
To help raise money for the Under-
ground. the girl took part in “Black
Performances” — secret concerts held
in private homes. Wearing costumes
her mother fashioned from old cur-
tains, the girl danced her versions of
the classic ballets to the piano accom-
paniment of a friend. And always, as
she whirled and pirouetted, she strained
to hear, above the music, the knock
of the secret police at the door.
It never came, fortunately. Her luck
held for years — and then, suddenly, it
happened. Two months before libera-
tion. with the smell of freedom in the
air. the German police began to round
up women to work in their military
kitchens. The girl and a dozen others
were picked right off the street. On the
march to headquarters her guards
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23
BY SIDNEY SKOLSKV
Sidney and friend. Oscar made first
appearance in Skolshy column in ’ 34
Tears from Kelly, charm from Brando
— and two Oscars watch the kiss!
Said Eva Marie Saint, thrilled with
Oscar, “l may have the baby now!"
THAT’S HOLLYWOOD FOR YOU
i’m stubborn about this minor matter:
I’m still waiting for anyone to show me
in print the Academy Award called Oscar
before March 16, 1934 when I first used
the name . . . Just goes to show you can’t
judge an actor from his screen person-
ality: Marlon Brando picked up his Oscar
in a full-dress suit and gave thanks in
complete, full-length sentences. Grace
Kelly, the cold unemotional lady of the
screen, broke down in front of everybody
and accepted her Oscar bawling, while
Eva Marie Saint, the quiet, shy little girl
of “Waterfront,” stole the show and won
everyone’s heart as she bubbled and ex-
claimed enthusiastically, “I’m so excited
— I may have the baby right now!”
(Which she did three days later — a boy.)
Frank Sinatra often makes it tough
for people who sincerely like him to like
him . . . I’m looking forward to “Guys
and Dolls,” and I hope Sam Goldwyn
doesn’t give it too much class . . . Would
Rock Hudson really let them name him
Rock if he had to do it all over again?
. . . Whenever I hear the song “Down the
Old Ox Road,” I think of Bing Crosby . . .
As Noel Coward put it: How potent cheap
music can be! ... Why do most actresses
think it’s sexier to close their eyes during
a screen kiss? I’m not disputing, only ask-
ing. I can be convinced either way . . .
Mr. Sandman, add to my list of dream
P girls Shirley MacLaine . . . Sunset Blvd.
is the longest of Hollywood’s thorough-
fares and on it you can see fire stations
designed to look like mansions . . . Holly-
wood is a great town and even Oscar Le-
vant likes it when he complains: “I’m
lazy enough without the interference of
tropical weather.” ... At Jean Simmons’
party an unemployed starlet told a work-
ing starlet: “The coat looks lovely. You’ll
wear it a long time. They say it has nine
lives.”
Audrey Hepburn, who flourishes with
charm, does a great impersonation of
Jerry Lewis in semi-privaciness ... I’d
still match Ava Gardner with any silent
movie siren. “The past,” as Finley Peter
Dunne put it, “. . . always looks better
than it was; it’s only pleasant because it
isn’t here.” For a today character to
match with yesteryear’s give me Shelley
Winters, who told me she liked her per-
formance in a certain movie and “every
time I see the picture I get better.”
Marlon Brando is courteous and con-
siderate. I can only judge people and tell
you about them as I find them ... I also
find Anne Baxter much sexier off the
screen than on, because off she’s herself
and isn’t trying to act sexy. This makes
me remember Anne Baxter’s first movie,
“The Great Profile,” with, of course, John
Barrymore. After doing a scene with over-
zealous Anne, John commented: “Must
she swim, too.” . . . Hollywood is the ki
of town where the penthouse is on 1
fourth floor of the apartment building . *
Don’t be afraid of failure, I often tl
the newcomers as we sit and chat !
Schwab’s. Go through the careers of Jo
Wayne or Jeff Chandler, Debbie Reynol
or Mitzi Gaynor and you’ll find failu
But no one remembers the failures, or
the successes. Everyone can tell you tl ;
. . . Mamie Van Doren claims she does;
wear anything beneath her evening gor
because there isn’t any room to put ar
thing . . . Whenever I watch a foreii
movie with English subtitles I get as wee '
as I do when I watch a tennis match . .
A studio executive objected to the <■
mands of a new contract by a new pop
lar actress by shouting: “A hundred gra
a picture and fifty percent of the grr
for — for not as much as Jane Russell!
Judy Holliday is no phony. She dc
all her acting for the camera. And I wi
they’d get her back here in front of
movie camera soon . . . Liberace used
play the piano in saloons. Then, belie
it or not, his name and billing was Busl
Keys . . . Edmund Purdom had this si
on his portable dressing room door: “1
Not Enter Without Knocking. Do b
Even Knock.” . . . Groucho Marx discu
ing a ball player: “He didn’t hit ha
enough to be a wife beater.” ... We
that’s Hollywood for you!
24
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Cute Marisa Pavan is now the reason
why Arthur Loew. Jr. is walking on air
W'ith Edmund Purdom and Linda Chris-
tian it’s now u matter of when and where?
Greg's frank statement settles all ru-
mors about Peck’s and Passani’s plans
BY FLORA BEL MUIR
HOLLYWOOD
the waiting game being adroitly
played by all the principals of the
Linda Christian-Tita Purdom and Ed-
mund Purdom triangle, while Tyrone
Power watches from afar in New
York with both Mary Roblee, John
Ford’s pretty niece, and Annabella, his
ex. to console him. Though talking
pretty big, Edmund has been appeas-
ing Tita with half his grand-a-week
paycheck while Linda, her nest al-
ready well feathered by Ty. has those
diamonds valued at $132,000 given to
her by an over-ardent suitor who’d
neglected to pay Van Cleef & Arpels
for ’em, safely stashed away in Mex-
ico— a nice pokeful of mad money?
Whispers getting pretty loud that
Linda and Edmund will wed when and
if feasible.
.
Jane Withers’ budding new romance
with Jake Ehrlich, Jr., son of a top
San Francisco attorney. . . . Rhonda
Fleming’s planned Mexico divorce and
the way she’s playing the field with a
vengeance, with shoe man Harry Karl
only serving as a blind for more seri-
ous philanderings. . . . How Martha
Hyer had to move her make-up kit
from Paramount to Universal-Inter-
national before she discovered George
WHISPERS
Nader and vice versa, leaving hi
Texas oil millionaire high and dry.
.
The way Eartha Kitt revealed thi
she was really socked where it hurt 1
the collapse of her romance wil
Arthur Loew, Jr., who apparently h<
taken up seriously with Marisa Pavai
Pier Angeli’s sister.
.
Whether Marlon Brando and Ril
Moreno really mean anything to eac
other. . . . Gregory Peck’s fran
avowal that Veronique Passani, tl
French chick, is to become the stej
mother of his three sons and chatelair
of his Pacific Palisades mansion — an
his quietly voiced insistence that th
attachment had nothing whatever to c
with his estrangement from Greta b
cause he and Veronique did not mei
until long after his marriage ha
soured for good. . . . What goi
with Debbie Reynolds and Edd
Fisher, who’ve now postponed the
marriage until midsummer, with Edd
too occupied with New York and Loi
don singing engagements. . . . Tl
continued squabbling of attorneys ovi
the Victor Mature divorce settlemei
with his wife — and her demands kee
getting larger.
26
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Mike Connolly with Pier Angeli
corner Debbie Reynolds and try
to make her own up and confess
BY MIKE CONNOLLY
IMPERTINENT
INTERVIEW
“W
▼ V ho,” I asked Debbie Reynolds,
Eddie Fisher’s fiancee, “is your favorite
singer in the whole world?”
Miss Effervescence thought it over,
then tactfully replied: “I like music —
all kinds of music!”
Debbie hedged some more. “I prob-
ably shouldn’t say this — single out only
a few — but I’m very fond of Judy Gar-
land’s singing, always have been.
“I also love Doris Day’s forthright
singing style. And Peggy King’s. Peggy
was under contract with the rest of us
here at M-G-M for a whole year, and
she and I got to know each other real
well.”
I interrupted: “You’re side-stepping,
Debbie.”
“Hear me out on Peggy,” she said.
“I love Peg’s singing for the heart she
puts into it and the way she makes
her personality shine through — even
through a tomato-sauce plug!
“I also love to listen to Mae Barnes,
who was with Shirley Booth in ‘By the
Beautiful Sea’ on Broadway. Then
there’s Pearl Bailey; and that wonder-
ful free-style singer, Frances Fay.
And . . .”
I interrupted again. “You’ve dodged
the subject long enough — who’s your
favorite male singer?”
Without batting an eye, Eddie
Fisher’s fiancee replied, “I like all of
them! Oh, I’ll admit that occasionally
one of the boy singers makes a record
that’s better than any of the others.”
“Such as?”
“Such as, ‘How Do You Speak to an
Angel?’ Eddie recorded that one. He
made it long before I knew him.”
“When you hear it today, do you
imagine Eddie’s singing it directly to
you?” I asked.
“Oh, now really! I don’t think of
myself as an angel, if that’s what you
mean! I think of it as being dedicated
to people in love everywhere — and als(
to people who love that kind of song
My mother, for example, she, too
thinks it’s the best recording Eddie has
ever made. I will admit though, tha
when I first heard Eddie sing it, 1
thought to myself, I’d like to knov
that boy.”
I asked her about “Fanny,” Eddie’s
version of the song from the Broadway
show of the same name. “When Eddi<
sings ‘Fanny,’ ” I pointed out, “i I
seems to me I can distinctly hear hin
change a word here and there.”
“You’re right, he does change a word
He changes it from ‘Fanny’ to ‘Franny,
ever so slightly. He thinks no one els<
catches it but me. My real name isn’
Debbie, as you know, but Mary Fran
ces. And my nickname is Franny. Si
that’s the way he signals to me. It wa
one of our secrets.”
“Any other favorites?”
“Frank Sinatra is one of my all-tim
favorites. He, like Frances Fay, sing
great old standards, like ‘Someone t
Watch Over Me’ and ‘Something t
Remember You By’ — and no matte
what mood I’m in I can always find
Sinatra record to match it.
“Bing Crosby is another great in m
book. And so’s Vic Damone — and Pie
Angeli agrees with me about Vic! Am
so’s Nat ‘King’ Cole — as a matter o
fact, the ‘King’ is just about the great
est, isn’t he?”
“I’m the reporter,” I said. “I onl
ask the questions, you answer then [
What do you think?”
“Well, I guess maybe not, after al i
I guess Eddie Fisher is still th 1
greatest.”
“Prejudice, thy middle name is Del
bie. And thank you, Franny.”
Which closed our interview.
28
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Address your letters to Readers Inc., Photoplay, 205 East 42nd Street, New York 17 New York
We regret we are unable to return or reply to any letters not published in this column.
P
SOAP BOX:
Answering Margaret Overby’s letter in
the April issue: It is regrettable to read
a letter such as yours. It portrays our
youth of today as greedy, irresponsible and
certainly not in accordance with our de-
mocracy that each man may think for him-
self. I do not believe that Eddie Fisher’s
career depends upon whether he chooses to
marry or not, but upon the respect and ad-
miration he has earned by his dignity,
wholesomeness and undeniable talent as a
vocalist and performer. Most of us, what-
ever our age, want those we hold dear to
be happy, and I do not choose to think
you are typical of Eddie’s (or anyone's)
fan-club members, for that would only con-
firm the misguided opinion of a lot of us
older folks that fan clubs are silly and
serve no good or lasting purpose.
According to your standards, Eddie will
lose either way. If he marries, he loses the
support of possessive little girls like you,
and if he does not marry the girl he
chooses, he loses the respect of his many
fans of all ages (and his own self respect),
because, by the latter, he will deny what
his personality implies when he visits our
homes via tv — integrity, responsibility and
wholehearted service to us all. Eddie is
building a good life and future, the Ameri-
can way. Let us help him.
Mrs. E. Burns
New Albany, Indiana
I bought the March issue of Photoplay
today and eagerly scanned it for a mention
of Bill Campbell, who is one of my favorite
screen actors. I saw him this past week in
Answer to a maiden’s prayer
“Battle Cry" and he did a tremendous job
as Ski. Surely now, I thought, Photoplay
will have at least a small picture of him.
Nope, no small picture, and not even a
mention of him. I trust that within the
foreseeable months, Photoplay will fea-
ture Bill Campbell.
Merlin F. Teed
Brooklyn, New York
Why does everyone keep making remarks
about James Dean? In my opinion, he is
the greatest actor in the field of television
and will be second to none in movies. He
is frequently compared to Marlon Brando,
as being “odd” and “different.” The only
comparison between the two is in the act-
ing department, where they share top hon-
ors.
I saw Mr. Dean at the premieres of
“Sabrina” and “A Star Is Born.” One time
I called to him to sign my program and he
not only did so, but he took the time to
autograph it especially to me. He is a per-
fect gentleman and a very nice person.
I think he’s the greatest and will one day
be as famous as he deserves to be.
Barbara Elen
Downey, California
CASTING:
I have just read the book “Pray Love,
Remember” by Mary Stolz and I think it
would make a wonderful movie, with Lori
A new role for Lori?
Nelson as Dody and Guy Madison as Ben.
Also with Shirley Booth and Marlon
Brando.
Dorothy Pemberton
Broadus, Montana
I have just read the book “River of the
Wolves,” written by Stephen W. Meader,
and I think it would be a wonderful movie
with the following cast: David Foster, Tab
Hunter; Nancy Morrison , Debbie Reyn-
olds; Jed Foster, Chill Wills; Maria Foster,
Marjorie Main; Nequanis, Vince Edwards;
Captain Tucker , Percy Kilbride.
Rene Salinas
McAllen, Texas
Quite recently Columbia announced that
it intended to film D. H. Lawrence’s “Sons
and Lovers.”
This is an excellent idea and it would
make a truly brilliant movie with Richard
Burton as Paul Morel, Claire Bloom as
Miriam, Grace Kelly as Clara and Judith
Evelyn as Gertrude Morel.
Fred Zinnemann, who did a really ter-
rific job on “From Here to Eternity,”
should direct.
Franklin Evans
New York, New York
QUESTION BOX:
Could you please tell me who played
Amy in “Young at Heart” and who is
playing Laurey in “Oklahoma!” with Gor-
don MacRae?
Sandra Holmberg
Chicago, Illinois
Elizabeth Fraser played Amy. Shirley
Jones will play Laurey. — ED.
I would like to know who played the
roles of Curt and Arthur in the film “Track
•of the Cat”?
Robert Ray
Atoka, Oklahoma
Curt, Robert Mitchum; Arthur, William
Hopper— ED.
In the movie “Passion,” starring Cornel
Wilde and Yvonne DeCarlo, did Miss De-
Carlo play the parts of both Rosa and her
sister? If not, who played the parts?
Sue Farley
New Matamoras, Ohio
Yes, Yvonne DeCarlo played both Rosa
and her younger sister Tonya. — ED.
I have just seen “Battle Cry” and I
thought it was wonderful. Please tell me
who played Hodge, Andy, Ski, Danny and
Spanish Joe.
Gerald Katz
New Orleans, La.
Hodge, John Lupton ; Andy, Aldo Ray;
Ski, William Campbell ; Danny, Tab Hunt-
er; Spanish Joe, Perry Lopez. — ED.
Please tell me who played Tony Curtis
(Jerry Florea) as a teenager in “Six
Bridges to Cross.”
Nancy Meskinnis
Forest Hills, New York
TV actor Sal Mineo.—ED.
Could you please tell me why Harry
Belafonte didn’t do his own singing in the
picture “Carmen Jones”? I’ve heard he
has a very good voice.
Sandy Sessions
Boulder Creek, California
Quite right, Harry Belafonte is a night-
club singer. But Le V ern Hutcherson sang
this part, which required an operatic voice.
—ED.
I would like to know Scott Brady’s real
age. He has been twenty-nine for the past
two or three years.
June Squstakowski
Buffalo, New York
Scott was born September 13, 1924. That
makes him thirty years old. — ED.
The question is personal
Could you please tell me if Ray Bolger
and Bobby Van are related? I saw Bobby
Van recently and he looks, dances and acts
like Ray Bolger. Do you think he could be
Ray Bolger’s son?
Miss Pat Heimbrock.
Louisville 5, Kentucky
Bobby Van’s father is Harry King,
choreographer for “Ziegfeld Follies” and
“Annie Get Your Gun.” His mother, Minna
King, sang in vaudeville. — ED.
If you want to start a fan club or write your favorite stars, address them at their studios (see page 113 for studio addresses) . — ED.
30
ffream of a bra: Maidenform’s Chansonette* in nylon taffeWffl
fate satin, cotton broadcloth, dacron cotton batiste ... from 2.TSK
IU.S. PAT. Opr. ©<95S MAIDEN FORM BRASSIERE CO. INC CO^ME: it R NOL d. SCAA'
I dreamed I was a
BY ERSKINE JOHNSON
TWO
RECKLESS
MEN...
hanging
by a thread
from the . i
empty edge of ^
NOWHERE!
Nothing above
but the gale-lashed
sky. Nothing below
but sudden death.
And nothing to do
but take the chance
—for the money— and
the woman that made
the risk worth while!
STARRING
RORY CALHOUN JULIE ADAMS
and introducing
an exciting new
personality. . .
RAY DANTON
Directed by ABNER BIBERMAN • Screenplay by RICHARD ALAN SIMMONS
Produced by HOWARD CHRISTIE • A UNIVERSAL INTERNATIONAL PICTURE
with THOMAS GOMEZ FRANK FAYLEN
i
LAUGHING
STOCK
Picking up atmosphere for his role of a
detective in a movie, Frank Lovejoy went
on a couple of raids with the L. A. police
department juvenile squad. At a roundup
of juvenile suspects by plainclothesmen,
one bright hood snapped at the star:
“You look more like an actor than a
cop, chum.”
Studio executive, talking to his press
agent :
“Now let’s be fair about this picture.
Just say it’s terrific.”
Dorothy Shay claims her accompanist
Eddie O'Neal has gone Liberace one bet-
ter. He has a piano shaped like a swimming
pool.
When a Civil War movie, “The Siege at
Red River,” played in a Memphis, Tenn.,
theatre, the manager put these words on
his marquee:
“See the Confederate Officer outwit the
Yankee.”
Actor, arguing with his agent: “I don’t
care what my salary is, so long as it’s
exorbitant.”
Jimmy Nelson’s description of a summer
resort :
“A place on a lake with a girl on the
make.”
Mimic Will Jordan said it:
“Destiny shapes people’s ends, but des-
tiny was really inspired when it shaped
Marilyn Monroe’s.”
Humphrey Bogart after warbling a
Christmas Carol for a scene in “We’re No
Angels”:
“This could be the end of my fan mail
from Aleatraz.”
Pinky Lee soothed a jittery TV actor
who complained he was so nervous he’d
eaten all his fingernails.
“Don’t worry,” said Pinky, “They're only
seventy-five calories.”
A rodeo gal, it’s being told, was sent to
a vocal coach by a studio executive who
thought she had the makings of a star.
All day long, the sage-brush beauty went
around muttering:
“How now bronco.”
Barbara Stanwyck expected an answer
of tradition or dedication when she asked
a nineteen-year-old Blackfoot Brave on
the “Cattle Queen” set the “why?” of his
long braids.
“Dunno,” he replied, “except they just
keep growin’.”
•See Erskine Johnson's “ Hollywood Reel"
on your local TV station
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Photoplay
Recommends
• Coming out of the movie theatre last evening
the tall blond fellow with the crew cut walking
in front of us suddenly stopped, leaned over to the
pretty girl by his side and kissed her on the fore-
head. “That’s because I’m glad I have you,” he
whispered. “Me, too,” she answered back and held
onto his arm a little tighter. You can put the
blame on Marty, for that’s how he affects you,
provided, of course, you’ve ever wished upon a
star for someone special of your own, felt lonely
even in a crowd or looked in the mirror and de-
spaired of finding romance — for this is the story
of Marty — and of all unloved ones — of a man and
a girl and their heart-tugging search for love.
Lectured, by his mother to marry, Marty Pilletti
( Ernest Borgnine) explains girls don’t like him
Finally meeting a girl ( Betsy Blair), Marty tells
her his dreams, is hurt when she refuses his kiss
35
Like a gypsy in the sun, Mona Freeman,
at Del Capri, tops off natty knee pants,
shirt, with hat sporting own earrings!
IFonderful view, at Malibu! Elaine
Stewart prefers the ocean to a pool,
wears red lastex with bands of white
For sunning by apartment house pool,
Mitzi Gaynor wears terry cloth bloomer-
suit, sweater to match midriff bands
CAL YORK’S GOSSIP OF HOLLYWOOD
A
day to remember at the Palm Springs Rac-
quet Club was the day Janet Leigh came down for
a brief vacation between pictures and graced the
giant pool with her imposing form. The whistles
could be heard coming from all directions — al-
though the rumor is, the loudest were from husband
Tony. And no wonder, he was the one (lucky man)
who gifted Janet with her tame flame pink lastex
swimsuit that caused such a run on pink suits in
the vicinity. Because Mr. Curtis is partial to one-
4
Water
Witchery
Donna Reed is in “The Far Horizons"; Janet Leigh, in “My Sister
Eileen,” “Pete Kelly’s Blues”; Mona Freeman, in “Battle Cry”;
Mitzi Gaynor, in “You’re the Top”
Donna's suit, matching towel by Catalina; Janet’s swimsuit by
Rose Marie Reid; Mona's Golden Earrings hat by Bullocks. West-
wood; Elaine’s swimsuit by Rose Marie Reid
piece swim wear with straps, that’s the kind his
loving wife always wears. Incidentally, Janet’s one
of the busiest of Hollywood’s young lovelies. She’s
just finished “My Sister Eileen,” and goes right
into Jack Webb’s “Pete Kelly’s Blues.” No wonder
this month’s Photoplay cover girl took a rest.
The one thing the young newlyweds, Mitzi Gay-
nor and Jack Bean, are searching for while house-
hunting is a pool. And it will be worth all the
trouble for a pool is central social headquarters
for all activity for the Beans and friends. Swimming
is Mitzi’s favorite way of keeping her 5'6" frame
down to its trim 112. As you can see, Mitzi favors
bloomer suits — and bloomer suits favor Mitzi!
Ever since “From Here to Eternity,” fans and
friends have been noticing a new blossoming in
Donna Reed, gaining her a reputation of not only
being one of Hollywood’s top dramatic actresses
but also one of the colony’s loveliest glamour girls.
For years, Donna nixed all pinup pictures, which
was Hollywood’s loss, judging from the fanfare she
received when she showed up at the Hotel Del Capri
in Westwood recently in a black and . white “Dal-
matian” suit. Everyone had spots and a star before
their eyes.
Not everybody has to go in the water, feels Mona
Freeman, who spent the day at the Hotel Del Capri
and not once got her feet wet. But Mona had lots of
fun watching the others, and the others had lots of
fun watching Mona. She had a Golden Earrings
hat on that was white and red with a wide, wide
sun-shading brim, smooth-fitting black knee pants
and a fiery print shirt. Mona, incidentally, is still
Bing Crosby’s number-one gal.
Elaine Stewart is one lass who will never be
caught near a pool! Elaine likes the ocean — so
much so this smart young one bought herself a
small bungalow at Malibu. At the present, though,
Elaine’s not doing much water-wading; she’s still
recuperating from the ruptured appendix that sent
her to the hospital during a recent good-will tour to
Rio de Janeiro.
Of all places, Robert Wagner spent his twenty-
fifth birthday in a lonely hotel room in Wichita,
Kansas! Near-zero weather grounded all planes
and Bob, tub-thumping for “White Feather,” not
only missed three parties in his honor, he couldn’t
even get through to friends or family on the tele-
phone. Facing casting problems, Bob’s “Lord
Vanity” doesn’t start now until June, so his par-
ents wanted him to accompany them to Europe and
it was okay with his studio — but not Bob! He loves
his work, Hollywood and the many friends he’s
made here. He preferred to remain close to home!
Lovely Anna Maria ( Continued on page 85)
37
^ oris Day’s explosion of
sunshine lights up everyone
around her. But it’s no shallow
glow. For behind it is the heart
of a girl who had to struggle
for the happiness she shares
BY WYNN ROBERTS
With Marty , love came as a friend. With
him she felt no strain, no rush, no fear
atom blonde!
i
She’d never acted, but singing won her
first movie role. “ With your kind of
heart you can act,” Mike Curtiz told
her. Left, at recording session. Right,
with Sinatra on “Young at Heart” set
Doris is also in M-G-M's “Love Me or Leave Me”
• It was a spring day, and the bedroom seemed cozy
and warm as the late afternoon sun came into the
room. And the little blond-haired girl, who sat quietly
by the window watching the flock of birds singing
on the large oak tree outside her window, forgot
all about the cast on her leg and the many months
she’d spent in bed.
It was spring and the birds were singing. She
liked all kinds of songs and all kinds of music, even
more so since she became ill. And slowly, unaware,
she began humming softly to herself, “Embrace me,
my sweet embraceable you. . . .” Before long she
was singing the words softly, hardly above a whisper,
so her father wouldn’t hear her. He didn’t approve
of such music.
And yet, somehow when she sang, everything
seemed better. Not that she didn’t see her father’s
point of view. There wasn’t much music in such a
song, at least not the kind of music a conservatory
teacher with the name of Wilhelm Kapplehoff, who
loved Bach and Beethoven and Brahms, would like.
But then, her father wasn’t in his teens; he prob-
ably couldn’t even remember how it was to be young.
And how could he know how it was to be unable to
walk, not to go outdoors, not to go to school? Per-
haps love songs didn’t mean anything when you got
older, but when you’re in your teens, love’s important.
She hadn’t forgotten love even though she’d been
cooped-up for ten long months waiting for her
broken leg to heal. She couldn’t explain to her dad
how singing these love songs made her forget the
nightmares which haunted her sleep. She’d go to
sleep, then start up, screaming, dreaming that, once
again, she saw that freight ( Continued on page 80)
39
•• ,W':a4C^v;|
; =$3
- %«*
7
There s a reason for all that sighing.
And it isn’t ’cause it’s spring.
It’s that new man , Nader
BY DON ALLEN
• When George Nader was still a young-
ster living in the heart of Los Angeles1
within a bus ride of a half-dozen major
movie studios, he came to a very important
conclusion.
“All actors are jerks,” said the young
Mr. Nader.
And this was not the last time these
dogmatic words were heard coming from
George’s direction. He was heard repeat-
ing them in high school; in his first year
at college he pronounced them often and
emphatically. For if old George knew any-
thing, he told himself, he knew one thing
— all actors were dopes.
But that was years ago. . . . When asked
recently, while planting a tender kiss on
lovely Maureen O’Hara’s lips on the U-I
set of “Lady Godiva of Coventry,” what his
present views were on actors, George
grinned broadly and reneged. “Work like
this is a pleasure,” he said, rather happily,
too, considering he was currently employed
as an actor.
This was just one of many occasions in
which Mr. Nader had to eat those famous
last words. And from the looks of things,
George is going to have to do a lot more
word-eating, because the boy seems des-
tined for a long and successful career as
an actor.
Having now appeared in seven pictures,
getting his big break in “Six Bridges to
Cross,” his talents are thoroughly appre-
ciated by moviegoers and widely recog-
nized by his bosses at Universal-Interna-
tional, who candidly admit, “George is
headed right for the top.” They’ve backed
their judgment ( Continued on page 107 )
No newcomer to acting, George Nader has appeared on radio, tv, movies,
has the rugged appeal of Gable and Peck. An expert pianist, he plays
Ravel for relaxation, keeps in trim by spending every free moment at
the beach swimming, which is his favorite sport
George Nader is in “Lady Godiva of Coventry"
41
ANNE
FRANCIS
JUNE
ALLYSON
GOLD MEDAL
Anne Francis No jewelry except earrings,
white fur stole , accent smart simplicity of
Anne's chiffon, cocktail-length gown. Perfect
dress casting — gloves to match satin midriff
he Crystal Room of the Beverly Hills
Hotel glowed like an animated rainbow.
It was the night of the Gold Medal
Awards— but it seemed more like a fash-
ion show. Jane Powell, vivid in American
Beauty satin and Spanish coat of plum-
colored silk . . . Jane Wyman, exquisite
in creamy satin . . . jewels, furs, gleam-
ing against the black dinner jackets of
the men . . . making this Photoplay
Gold Medal Dinner party one of the
most glamorous nights of the year.
Anne Francis is in “Battle Cry," “Blackboard Jungle";
June Allyson, in “Strategic Air Command," “The Shrike,"
“The McConnell Story"; Janet Leigh, in “My Sister
Eileen," “Pete Kelly's Blues"; Kim Novak, in “Five
against the House"; Barbara Rush in “Kiss of Fire"
June's evening ensemble by
Howard Shoup of Warners
42
GLAMOUR GIRLS
Janet Leigh An eye-catching
figure in silk-jersey and red tulle,
Janet’s gown makes news with its
torso-length top, demure neck-
line that dips to deep V in back!
BARBARA
RUSH
Kim Novak Sheathed in mauve
lace, with allover design in beads
and sequins, Kim turned all heads
when she turned — to reveal pink
sash at dipped-to-waistline back!
Janet's Gold Medal Gown
was designed by Maxwell Shieff
Kim's gown was designed especially
for her by Jean Louis
KIM
NOVAK
June Allyson A graceful figure
in shimmering satin, our Gold
Medal winner tops her waltz-
length gown with pert bellboy red
velvet jack lined with white satin
Barbara’s evening gown is an original
by Sybil Connolly, top designer of Ireland
Barbara Rush in gown she
bought when she made “ Captain
Lightfoot.” Blouse is pleated Irish
linen. For contrast, Babs added
red velvet ribbon at neck
Pier is in "The Silver Chalice"; Vic, in "Hit the Deck"
When Vic’s away, their
house is too lonely for Pier, so
they’ll move nearer neighbors
w
HAT ARE ANGELS MADE OF?
Being a little wacky
and a little wonderful.
Being brave , and wise
about love. That's
what makes Pier Angeli
the angel Vic adores
BY MAXINE BLOCK
• At Pier Angeli’s beautiful and impressive wedding cere-
mony to Vic Damone last November at St. Timothy’s Church,
many of her friends wondered why Marisa, her maid of honor,
carried two bouquets down the aisle to the altar. They watched
as Pier took one of them from Marisa and placed it at the feet
of the Virgin Mary. Pier later explained, “That was to ask
her to bless our marriage and to make it fruitful.”
It was with great concern that Pier’s family, friends and
fans learned that after a turbulent plane trip from Los Angeles
she was hospitalized in Palm Springs, suffering from a broken
pelvis, shock and a cut above the eye which required stitches,
after being thrown against the walls of the powder room
on the plane.
What heightened everyone’s concern was that Pier and Vic
were expecting a baby in September. In a telephone message,
Vic broke the bad news; the X-rays disclosed much more
severe injuries than were first thought. “Pier will be hospital-
ized for a month and the doctors cannot be sure until later
whether she will lose the baby,” he explained, distraught.
“I pray that all goes well. It’s hard to think straight at a time
like this. I’ve been trying to keep up Pier’s spirits, but when
I enter her room and see her lying there so tiny and still, my
heart sinks and she looks at my face and it’s she that begins
to comfort me! Pier has such courage. ‘You must not worry,’
she keeps saying. ‘You must go to Milwaukee for your en-
gagement. Everything will be all right.’ She’s an angel.
“But how could I go? I’m f Continued on page 95)
14
i, •• .
I.
A
DREAM
Funny what fate can do to a guy. A campaign speech
won him a job as an actor. And lost Aldo Ray
the chance to run for president!
“1 think / would have made a good president Aldo says, wistfully.
But his eyes say meeting Jeff Donnell was worth any chances he missed
BY ALJEAN MELTSIR
At 13 he plowed artichoke field to pay for doc-
tor, clothes, was so good, salary was tripled next
year. Boss called him “II Matto” — crazy one!
THE BOY
WHO
SWALLOWED
At 23 he ran for office of constable of Crockett,
won it away from man whal’d had it 15 years!
• This is a story about a boy, a little boy who swallowed a
dream. And this is where the story begins . . . where it ends,
nobody knows.
It was a bright, clear day and the sand on the beach was
hot and sun-soaked. The little boy clowned about the edge
of the water and talked merrily to himself for he was alone.
As he stumbled, picking up broken crab shells, a giant wave
rolled in and carried him out towards the sea. By the time
the boy collected his balance, the shore seemed forever away.
He began to swim back and, somehow, while he floated and
kicked and struggled against the Pacific, as he fought back
the ocean and coughed up the salt water, things became
confused. But all the time, he knew he wasn’t going to drown.
When, at last, he stumbled onto the beach, seven-year-old
Aldo Ray knew why he was spared. He had swallowed the
ocean and fought the waves — and he had found his dream.
Filled with overpowering victory, he ( Continued on page!!)
Aldo Ray is in "Battle Cry’’ and "The Gentle Wolfhound ’’
46
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BY RUTH WATERBURY
• “I’ve got a surprise parked outside
for you, honey,” said the man, casually
tinkering with his watch, more to hide
his apprehension than from any inter-
est in the battered, ten-year-old time-
piece. “Come on, see what it is.”
The little girl looked up from her
piano playing and smiled a little quiz-
zically, a small forced smile. “Oh, Dad-
dy, you didn’t. You shouldn’t have
bought me another present. You really
didn’t. . .
“You bet I did,” he answered hope-
fully. “Come on, give it a look.”
She smiled back at him, carefully
pushed the stool back, making sure she
didn’t kick the legs, and just as care-
fully arranged the music on a pile be-
fore she ran over to the window. Look-
ing at her, a stranger would have
guessed her to be twelve, maybe just-
thirteen, but she was already fifteen;
she was fifteen last April 1st.
“A bike,” she brightened for a mo-
ment. “A blue bike. It’s — it’s just won-
derful.”
“It’s like the one you always wanted
when you were back home, remem-
ber?” he answered, as though proud of
the fact that he still remembered. Then,
as if he weren’t sure, he asked hesi-
tantly, “It does make you happy, honey,
doesn’t it?”
She started to say something, then
hesitated, and, instead, gave her father
a hug. “Of course it does, Dad. It real-
ly does. I can hardly wait to try it out.”
“Well, go on — go on try it,” he
beamed. “You can always finish prac-
ticing after supper. Try it out now
while it’s still light out.”
She ran down the steps, two at a
time, and climbing onto the bicycle
waved to her father at the window and
pushed off, in what she hoped seemed
enthusiasm. Not until she rounded the
corner, did she break down and let the
sobs and tears come out. Slipping off
her bike, she leaned against a building
and tried wiping away her tears, thank-
ful that Pico Boulevard was a busy
Los Angeles street and no one would
notice her. For how could she ever ex-
plain how she felt about the bike she
Continued
No “play house” the Nerneys’
home is modern — “a terrific
place to bring up children ”
V ^
When studio gave her her first
chance to play a mature role,
Jane’s happiness was complete
Shed, wanted to be like
other, girls growing up
in Portland. Instead,
she landed in Hollywood.
It was to be a long time
before Jane Powell got
the wish that brought
her happiness
Jane Powell is in “Hit the Deck’'
Pat’s love of art, books, has
opened, a neus world for jane — -
contributed to new maturity
ITTLE GIRL NO LONGER LOST
Continued
Lost, she may have been, but never
lost teas determination to give GA
and baby Sis a normal childhood
Today Jane knows that if she had
grown up in Portland she’d not
have mistaken crushes for love
Never wanting fame, she clung to
original dream of happiness with
a husband, a home and children
50
used to want at home . . . about the
way things used to be in Portland . . .
about the way they were now.
It all seemed so strange, being fif-
teen, having a big studio like M-G-M
sign you up, all this talk about her
being a movie star. Any other girl in
the world would be wild with delight.
Suzanne Burce, so tiny and pretty with
such a bright future, knew she should
be the happiest, yet she wasn’t. She
didn’t want to be renamed Jane Pow-
ell; she didn’t care to be a movie star;
and what’s more, she didn’t even want
to live in Hollywood.
The one thing in the world she want-
ed most was to go back to Portland,
Oregon, where she had always lived
and go on with her class into Grant
High.
She had to admit Hollywood was fun
— for a while. She’d met Clark Gable
the other day and Mr. Pasternak, her
producer, introduced her to Walter
Pidgeon, who’d given her a quick kiss
on the forehead. No one could be
nicer. But still, when you’re fifteen,
you would rather see Larry Karsen.
the first boy who’d ever written you a
note, saying, “I love you,” or Jack
Smith, the first date who had ever tak-
en you to a show, and David Lee, who
escorted you to your first formal. David
had worn white gloves with his dark
blue suit. She was thrilled. The only
boy she’d met here in Hollywood was
Peter Lawford and he was twenty-five.
She didn’t know any girls her own age
out here either. She had to go to school
i
i
In the years of disappointment,
Jane has matured into a lively in-
telligent woman who adores Pat
on the M-G-M lot. Of course, there was
one other pupil, but she was a child.
She was only twelve and her name was
Elizabeth Taylor and all she wa9 in-
terested in were chipmunks.
“You all right, kid?”
Suzanne looked up, startled, at the
policeman in the prowl car.
“Yes, I am. I just got a new bike
from my father and I got a little
scared,” she fibbed.
“You live around here? Want me to
take you home?”
She managed to laugh now, and then
the policeman recognized her. “Aren’t
you the little girl who was in that pic-
ture with Charlie McCarthy? Gaye Ste-
phan was the name, isn’t that it?”
Suzanne didn’t tell him that Gaye
Stephan was her last summer’s name.
Her newest name was Jane Powell.
Neither did she tell him that she wished
she could be just plain Suzanne Burce
from Portland. But she was polite.
“Yes, I am. And I’m fine now,” she
answered. “I’ll just wait here another
minute and then I know I can ride
home all right.”
Home now meant Hollywood. Home
was different when it was Portland. It
was in Portland that her parents hap-
pened to go to a show one Friday night
when she was three and, seeing Shirley
Temple who was also three, made their
decision.
It was 1932 and the depression was
on, and they lived in a house so small
that it had only one bedroom and she
had to sleep in the living room, but
just the same her parents found the
money to let her take dancing lessons.
Four years later they’d managed to
scrape up money enough for her to
begin singing lessons, despite the fact
that the depression was worse and
money scarcer for them in 1936. It
was happy-making that at seven she
got on a local Portland radio show,
and it was positively thrilling when, at
eleven, she had her own show over
station KOIN. Then the war began and
she was made Portland’s Victory Girl,
which was an important responsibility
to her. She ( Continued on page 101)
!:
J
51
A marriage ceremony that began
with a speed ticket ... a honey-
moon with four hundred people.
No wonder Cupid had the jitters
before the honeymoon was over!
• “The funniest thing happened to me on the
way from the altar,” is the only way Dan
Dailey’s brand-new wife, the former Gwen
O’Connor, can tell the story of the first ten
minutes of their married life. She got hit by a
blackjack. The blackjack was in the hand of a
Las Vegas card dealer, but here’s how it hap-
pened.
After a two-year, rough-and-tumble courtship
featured by more fights than have been seen
in Madison Square Garden, Dan and Gwen
tied the knot in a hurry. Dan’s agent was going
to Vegas to see another client, so they went
along for the ride, and once having , arrived,
marriage seemed a sensible idea.
When Gwen finished saying, “I do,” she ex-
cused herself and started for the powder room.
Her path lead through the Sahara Hotel’s gam-
bling casino, so she stopped for just a minute
at a “21” table to try her luck. Ten minutes
later, when the frantic Dan started a search for
his bride, he found her still at the table — minus
$700.
“So I won a wife and lost some money, but
I still came out ahead,” Dan told me.
Well, at least Dan and Gwen were alone on
their honeymoon. Guy Madison had to share
the first four days of wedded bliss with Sheila
Connolly, with four hundred conventioneers and
the entire University of Miami football team.
As you know, Guy and Sheila were married
in Juarez, Mexico, then hopped a plane im-
mediately for Miami, Florida, where Guy was
Continued
The hotel accommodations were fine — except for one
thing. That's why Lita and Rory Calhoun spent their
wedding night — sleeping on the hotel room floor!
Liz Taylor and Mike W ilding had just promised to spend the rest of
their lives together. But no sooner had the groom turned his back
than the bride got lost! It took five hectic hours to locate Liz
It was two o'clock in the morning— the minister had gone to bed.
the hotel had no rooms and they couldn't get a license! But that
was only the beginning of Bill and Brenda Holden’s hectic marriage
It may seem odd for a guy to marry one girl, then go off to Niagara
Falls with another. But that is what Tony Curtis had to do after
his Connecticut marriage to Janet Leigh and two-day honeymoon!
HONEYMOON TRIP
Continued
due to make personal appearances for
the sponsor of his “Wild Bill Hickok”
tv series.
They were never alone a minute —
well almost never, anyway. The entire
Kellogg’s sales force was there with
them, and if three’s a crowd, four hun-
dred is ridiculous. And as if that wasn’t
bad enough, the Miami football team
was quartered at the same hotel while
waiting to play Fordham University.
Whenever Guy and Sheila could get
away for a walk, they’d be followed by
whistles and catcalls from that group
of huskies who knew how to take ad-
vantage of honeymooners. Guy was
really a “wild Bill” by the time he got
away from Miami.
Audie Murphy almost shot a man
on his honeymoon. He and Pam had
gone to the “77” Ranch Motel in Dal-
las, Texas, to spend their wedding
night. They were both asleep when
there came a scraping at the window.
Audie woke with a start. He had
learned to be alert to danger when he
was earning his title of the “most dec-
orated war hero.” He reached under his
pillow for his gun (he always sleeps
with it), then cautioned Pam, who had
awakened by this time, to be quiet.
The scraping at the window continued,
and in the moonlight outside, they could
see the shadow of a man. Audie raised
his gun, took careful aim, but as the
burglar started to raise the window,
Pam could hold back no longer.
“Audie, don’t shoot, please,” she
pleaded in a voice loud enough for
the burglar to hear. Before Audie
could get out of bed, the man made
a swift and definite disappearance.
When the first fright had left her,
Pam laughed and said: “Is that what
they mean by a shotgun wedding?”
After his Connecticut marriage to
Janet Leigh, Tony Curtis went to
Niagara Falls, the traditional honey-
moon resort, with Piper Laurie.
At the time, both Janet and Tony
were in the East on picture-plugging
stints for their respective studios. They
knew they wouldn’t have much time
together, but for two people so in love,
any time is better than none at all. So
they were married in haste, spent two
wonderful days together and then were
separated for the next six weeks. Janet
returned to Hollywood and Tony joined
Piper at Niagara where she was waiting
for him to continue their tour for “The
Prince Who Was a Thief.”
“Someday I’m going to have to take
Janet there,” Tony said recently. “It
hardly seems right to marry one girl
and then go to Niagara Falls with an-
other.”
A mistaken identity gag that would
have done justice to an Abbott and
Costello comedy preceded the Robert
Taylor-Ursula Thiess nuptials. Bob and
his bride-to-be had flown to Jackson
Hole, Wyoming, for the occasion. On
their arrival at the airport, they were
met by one of Bob’s fishing friends,
Jess Wort, who had with him another
man, a stranger. Bob assumed he was
the airport porter and asked him to
carry his bags to the car. Bob offered
him a tip, which was refused. He should
have known something was amiss there,
because what porter ever refused a tip!
It wasn’t until he was about to be
married that ( Continued on page 114)
You wouldn’t expect a new groom to carry a gun — or nearly shoot a
man. But that’s what happened when Pam and Audie Murphy, above
with James Cherry and Annabel Scheisher, went on their honeymoon
Two’s company — four hundred’s a crowd. Especially when you add
a team of husky football players. That’s why Wild Bill Hickok
went wild when the Guy Madisons, far left, honeymooned in Miami!
Was his face red! It wasn’t until he was about to be married to
Ursula Thiess that Bob Taylor discovered that the stranger he’d
asked to take care of their luggage — was anything but a porter!
No one recognized the brunette Mrs. Lex Barker on their honeymoon.
Which suited the so-in-love Lana. But even her sense of humor was
strained when the fans began turning their backs on Tarzan’s mate!
They’d been pursued by the press and admirers ever since they’d
been married. Now the Mel Ferrers were home. Audrey Hepburn
sighed with relief, then shrieked. She thought she was seeing ghosts!
fflAT CROSBY MYTH!
Bing Crosby dares an expose —
and Photoplay dares to print the truth
about the man who destroyed a myth
with his own hands
BY
MAXINE ARNOLD
Bing's next is “ You’re the Top"
• Everybody knew Bing Crosby. At least we thought we
did. We all believed in the comfortable myth of the casual
crooner with the bland blue eyes, the inhibited horses and
the uninhibited shirts. Why, he was about the most familiar
personality in the world, the nonchalant fellow whose
rhythm for living was set to the easy swing of a golf club
or the wigwagging of an itchy foot following the beat.
Bing was simply giving his best performance off-screen,
underplaying himself. Probably, he would have liked to
go right on hiding safely behind the great Crosby myth.
But it’s too late now, and that’s his own fault. He has
turned himself inside out for the whole world to see, re-
vealing a man with rare emotional depth and sensitivity,
with almost incredible strength.
The revelation began one night, in a projection room
on an otherwise deserted studio lot, while a rough cut of
“The Country Girl” was being shown to a very chosen few.
Among these was a fellow artist of Bing’s, his oldest son.
When the lights came 09 at the end, there was a loud hush.
Everybody sat there without a word. Finally, near tears
with admiration and the emotional impact of the picture,
Gary Crosby said, “I ... I didn’t know Dad could do that.”
His dad hadn’t known it, either, any more than the rest
of us — except for the close friends of many years, who
could always see behind the myth. William Perlberg, pro-
ducer of “The Country Girl,” says, “Bing’s emotions are
hidden deep inside. But these are the people who have the
most. The fellow who wears his heart on his sleeve is
usually lacking in heart.”
Bing could hardly have foreseen the far-reaching per-
sonal effect of that offbeat role. George Seaton, director of
the film, recalls, “Quite a lot of pressure was put on
him not to play the part. After all, he’d made tremendous
strides in the business already. He’d taken every character
and made it into his own image — the most enchanting
personality the screen has ever known. With a huge fol-
lowing like Bing’s, he could have stayed in the same
groove forever. But he didn’t. It took plenty of cour.age to
jump into something like ‘Country Girl.’”
Actually, challenge has always been Bing’s meat. There
never was any such person as the easygoing character of
the Crosby legend. As a kid, back in Spokane, he
Continued
His late father, Harry Lillis, Sr., saw through Bing’s cas-
ual masquerade, knew his son respected and lived up to the
words he, himself, loved — that merely winning isn’t enough
Early picture of Bing with Dixie, Gary and the twins. Since
Dixie’s death, Bing has carried double burden of responsibil-
ity in sons’ upbringing and at times it has weighed heavily
BINO
Continued
dOEB THAT CROSBY MYTH
smothered the opposition in an elocu-
tion contest with a spirited delivery of
“Horatius at the Bridge.” One summer,
against odds and a lot of brotherly
hoots, he entered the city swimming
meet against champs who’d all had
special training. Young Harry Lillis
Crosby came home late that evening
tired but triumphant — with eleven
medals in his wet, hot hand.
The “lazy” Crosby believes firmly
in the character-building value of
sports. Years ago, this reporter (then
working for the home-town paper) was
rounding up stars’ advice to young
hopefuls Hollywood bound. Pursued to
the Lakeside Golf Club, Bing came out
of the golf shop whistling, posed gen-
ially for the Brownie and gave this
advice to kids: “Excel in some kind
of sport.” Shouldn’t they learn to
sing? No, said Bing good-humoredly
(a very patient man). Make a name in
sports and you’d be in anywhere. More
important, you’d acquire a spirit of
good sportsmanship, an ability to face
competition, a will to win that would
help you find success in any field.
For all his offhanded manner, Bing
has a solid sense of integrity; merely
winning isn’t enough. On the wall of
his dad’s old office, next to Bing’s own,
are the framed words: When the One
Great Scorer comes to write against
your name — He marks not that you
won or lost — but how you played the
game.” Pop’s gone now, but Bing still
treasures the words he loved.
Twenty- five years ago, when Bing
was hardly known as one of the most
responsible characters in show busi-
ness, William Perlberg saw through the
carefree air. Bing was one of Paul
Whiteman’s Rhythm Boys, a boy in a
striped blazer, with a captivating croon
and an ingratiating way with the ladies.
Then an agent, Perlberg was impressed
by “an unusual attractiveness about his
personality. As a young man, he had a
tremendous, warm appeal, which has
naturally increased in stature through
the years.”
Heading back to Hollywood from a
very unprofitable tour, Bing wrote his
agent a letter including these plaintive
remarks: “It has occurred to me you
may possibly be able to line up a
couple of parties — giving us some work
until something more definite pops.
Marion Davies or some other . . .”
Perlberg booked the singing trio into
Eddie Brandstatter’s Montmartre, then
Hollywood’s (Continued on page 110)
58
With Linny, Gary and the twins. Of their dad’s acting, Gary
says “ ‘Little Boy Lost’ was the warm-up — but ‘ Country Girt
... I didn’t know he had it in him. That was the big show!”
“Going My Way,” for which he and Barry Fitzger-
ald won Oscars, was different from his carefree
“Road” films, but Bing was still being himself
He could have stayed in his casual groove. But challenge has al-
ways been Bing’s meat. Yet even he could not foresee the far-
reaching personal effect of roles in “Little Boy Lost,” left, with
Christian Fourcade, and “Country Girl” with Bill Holden, above.
No longer could Bing hide safely behind the great Crosby myth!
Pandemonium
Reigned
In Paradise
Mitzi Gaynor is in “You're the Top
“ The Bean Filing System ” at home is something on a corner
of the dresser, consists of the overflow from Jack’s pockets
and travel folders describing places they want to see
Homecoming was hectic. Friends had settled them in new
apartment, but the Beans just dashed in and out. It was
the day before Xmas and they hadn't bought a single gift
Closet space is scarce, drawers filled to the brim, but
though Jack stripped wardrobe down to minimum, Mitzi
still had to get rid of eighteen dresses, thirty pairs of shoes!
Only at MitzTs shower, above with Anne Francis and Mala
Powers, did Hollywood stop playing game that had enter-
tained them for months — “IF hen Will Mitzi Marry Jack?”
The bride forgot the ring ,
they had to be married twice.
The sun forgot to shine ,
the newlyweds were homeless.
But to Mitzi and Jack —
married life was wonderful
BY ROBERT EMMETT
• The warm months of 1954 were made notable in Hollywood
social circles by a new parlor game entitled “When Will Mitzi
Marry Jack?” Any number could play and no theory was con-
sidered too fantastic. One romance expert was willing to bet her
food freezer that the Gaynor-Bean amour had long since chilled,
was being reheated for publicity purposes. Another was
coaxing along a hothouse full of orchids in preparation for white
satin nuptials, and a third was positive that the love affair would
end in a surprise flight to Las Vegas with Mitzi marrying
someone other than Jack, and vice versa.
It is only fair to point out that Mitzi and Jack, too, were playing
the game and with just as much concentration. However, they
had one advantage. They knew what they (Continued on page 98)
Marlon — a dapper two
With Philomena Ignelzi, Gertrude Heim, Pat Mulqueen of Marlon Brando Charity Fan Club
Marlon is next in “Guys and Dolls'*
With Judy Garland. That he’s well-mannered, well-spoken
and well-behaved is no surprise to people who know Marlon
• Scrambling along a jagged rock ledge in New
York’s Central Park, a well-dressed young man in a
blue-gray business suit, super-white shirt with but-
ton-down collar and subdued knit tie turned sharply
to the three girls running after him and yelled,
“Come on, the view’s terrific.”
Even a few blase New Yorkers turned and
chuckled as they saw the enthusiastic young man
perched high on a rock pile. He looked as though
he had just achieved the remarkable feat of climb-
ing Mount Everest.
Other folk may have recognized him t« be Mar-
lon Brando, and said to themselves, “that guy
Brando s a character.” This is hardly so to the
people who know him, like the three fans who
scurried after him in the park. To them, he was a
great actor, kind of a hero — and a friend — and they
joined (at his request) in his plot to work off some
energy with just as much enthusiasm.
“Now that you come to think of it, we might
have looked a little funny,” says Philomena Ignelzi,
who is president of the Marlon Brando Charity Fan
Club. “But it was a beautiful afternoon and it just
seemed like the natural ( Continued on page 89)
A CHARACTER—
BUT STILL
BRANDO
What do people see in Marlon?
Here are two points of view
that suggest maybe it takes a
woman to understand this man
BY ERNST JACOBI
62
Kirk Douglas is in "The Indian Fighter/* "Ulysses," "20,000 Leagues Under the Sea" and "The Racers'
BY FREDDA DUDLEY BALLING
M he man in the bathing trunks, the aqua-lung and the
goggles, with the snorkel breathing tube in his mouth, was so
excited he shivered, even in the tropical waters off Nassau.
He had never tried skin-diving before and — like everything else
he undertook for the first time — he considered it the greatest.
The water was so clear, the sand at sea bottom so white, the
marine grottos so lovely and the fish so exotic that the skin-diver
was impelled to comment on it all. What he said was, “What
a sensation — what beauty — what mystery. ...” To the few
curious fish about, it sounded like nothing. Then Kirk Douglas
lost his snorkel tube, took on a load of limpid sea water
and had to be hauled to the surface.
Afterward he confessed sheepishly, “I was so at home in the
water that I forgot I didn’t have gills.”
His embarrassment was unnecessary because the incident was
a capsule story of his life: normally he plunges into an alien
situation, is delighted by it, identifies himself with it and, having
merged with the medium, he comes up triumphant and refreshed.
Zestful is the word for Kirk. He has a dynamism that belonged
to the strapping, hard-muscled heroes of long ago: men like
Beowulf of the north and Ulysses of the south, whose life,
incidentally, Kirk recently helped to put on film.
During the past two years, Kirk has covered around 50,000
miles. In rolling up this mileage Kirk has worked and/or
vacationed in Israel, France, Italy, Switzerland, Germany, Nassau
and Jamaica. Usually he has known where he was, but he had
an uncomfortable moment in Rome. He was having dinner at the
Excelsior Hotel one night when he heard a musical cry fall from
the public address system, as follows, ( Continued on page 93)
She was an angel in a bright red coat and she brought
him down to earth. To a place where home and
a family are Kirk’s idea of bliss!
65
BE CRAZY!
DO CRAZV!
TALK CRAZV!
SAYS
THIS
LOVABLE
ZANY
MOVE OVER
BY DEE PHILLIPS
FOR JANE RUSSELL!
• A few months ago, on a late Sunday afternoon
news telecast, a commentator announced that it
had, indeed, been a confusing week. The public
could take the anxiety over the postponement of
the Nevada atomic tests; it could stand the strain
of the recent flareup in north Africa and tolerate
the difficulties in the Formosa Strait, but could
it be asked to beat up under the confusion of
who’s body Jane Russell was wearing in the ad-
vertisement for “Underwater!”?
To those who know old Jane best, namely the
studio people who work with her, there was noth-
ing out of the ordinary in Jane becoming a news
incident. Ever since “The Outlaw,” she’s left be-
hind her a string of small explosions that can be
attributed in part to publicity, in the main to her
While in London, Jane visited orphan home. Her big am-
bition is to get parents, homes for kids all over the world !
inherent talent for being the lovable, strong-willed,
fun-loving, unchangeable zany that she is. Like,
for instance, the time Jane went barreling off to
Las Vegas for the premiere of her picture, “The
Las Vegas Story.” The evening before the pre-
miere she was flitting around town having a ball,
completely ignoring the high wind that had blown
up— and in the wintertime that high desert wind
is pretty potent. So she bounces out of the car, let’s
go of the door handle, the sixty-mile-an-hour
gale smashes the door right smack in her face,
and there is the glamorous Jane Russell the night
before a premiere with a black eye. At the same
time, a hundred of the press were being flown up
from Los Angeles to cover the premiere. So ulcers,
ice packs, sedatives and ( Continued on page 86)
67
Photographs by Bert & Stan Rockfleld
Checked slip-on overblouse with wide
cowl neckline, $10.95, tops Capri pants,
under $8. Cotton and rayon home-
spun. By Wilroy. Gustave play shoes
j;
ERRY MOORE’S
DESIGNS FOR FUN
Hollywood glamour’s not all beyond
your reach. Take a gander at these
time-off-for-fun clothes that predict a
magic summer ahead
Summertime, and the livin’ is easy, especially in
fresh fashions like these from Terry Moore’s
new wardrobe. Here is the news in 1955 fashion,
from the easy overblouse to the well-put-together
costume look of a trim swimsuit with its own
beachcoat. Shown, too, how to wear your man-
tailored shirts tossed over separates for a
jacketed look. Look for wearable, washable
fabrics like poplin and sailcloth and slim pants
everywhere, every length, from very brief to
ankle coverage. There’s news in knits — the
bulkier the better. Note our versatile featured
jacket. We show you more new s unclothes on
following pages. Here’s to a wonderful summer !
For Where to Buy turn to page 86
HBHH
Lavender poplin sleeveless blouse,
lean ankle pants, each about $8,
spiked with a French-cuffed dotted
shirt. About $11. 10-16. Masket Bros.
Slim embroidered swimsuit, pleated
gold cotton satin cummerbund
matching its wearable coat. Suit,
about $22; coat, $15. By Cabana
For the cool of summer, brass-button-
ed bulky white knit box jacket, with
easy raglan sleeve. Sizes 34-40. By
Rita Jacobs for Guttman. About $25
m m
«aP»-
SUN-GATHERING FASHIONS
PHOTOPLAY
STAR
FASHIONS
Buy Star Fashions
in stores listed
on page 86
Newer than new, Paisley-printed cotton^^^
in a zip-front, one-piece hooded playsuit.
/'bout $9. Its own sheltering skirt, about
$8. 8-16. By Sportwhirl. Bernardo sandals
Patch-pocketed loose overblouse in
black and white oval print sailtone, about
$8. Balanced over exclamation point reverse print
M
|
m
>
d
1
•£« m-
Hwjti m
:• )}Y*
m
continued
pants. About $6. Loomtogs. Beach bag by Kleinert
Key to a Treasure of Silver
(shown on preceding page)
A. Elegance of line and design in
sterling Puritan pattern candelabrum.
1214 inches high. By Gorham. $37.50
B. Flair pattern silverplate enter-
tainment set. Tidbit dish with serv-
ing spoon. 1847 Rogers Bros. $3.95
C. Reed & Barton's Silver Sculpture
pattern sterling steak set, with fine-
honed stainless mirror steel. $18.50
D. Towle’s handsome bowl in ster-
ling Silver Flutes pattern, fluted
edge. $17.50. Matching tray, $8.75
E. Young moderns’ sterling Trend
salt and peppers. Contrast plastic
tops and liners. Gorham. $10 pair
All prices Include Federal tax
F. Handy sterling pipkin with tray
in Silver Flutes pattern. Olive wood
handle. By Towle. $20.95 complete
G. Gorham's sleek-lined, contempo-
rary sterling Trend candlesticks. Use
them singly or stacked. $13.75 pair
H. Handsome Flair silverplate hot
beverage pitcher, rattan handle.
10 cup. 1847 Rogers Bros. $41.25
I. Elegant timekeeper, Gorham's Vic-
torian sterling clock. 7 jewels, 40-
hour alarm. Stands 5 inches high. $35
J. Handsomely shaped sterling bowl
in Reed & Barton’s Silver Sculpture
pattern. 93/e inches in length. $25
K. A hostess must — covered English
vegetable dish in gadroon-edged
silverplate. By International. $47.50
L Sterling-handled Classic Rose cake
knife, in chivalry sword design.
16 inch. By Reed & Barton. $29.75
M. Exquisite smokers' gift, silver cig-
arette urn, $8, matching ash tray,
$3.75. Both by International Sterling
N. Newest in sterling candelabra,
designed for many graceful free-
form arrangements. Towle. $30 pair
O. Holmes & Edwards’ silverplate
roast carving set in lily-adorned
stylized Romance pattern. $14.75
P. Towle’s sterling-handled Contou
salad servers in smooth-lined blac
plastic. Shaped to hold more. $1.
Q. From oven to table in style
Black ceramic casserole, sterlins
cover, tray. By Towle. $50 compleh
Suzan Ball, our young and lovel'
hostess, dresses as simply and ele
ganfly as the chosen silver distin
guishing her home. On precedin'
page, Suzan wears a sheer Englisl
cotton dress, the freshness of ging
ham checks highlighted by a colla
of frosty pleated organdy. Black o
brown with white. A Benham Origino
Tan with Tartan
For you . . .
and the one who
makes your
temperature rise . . .
Catalina look-alike
swimsuits!
Shown here—
a fabulous
Signature Fabric
from the land of
the Pharaohs.
See Catalina
Sweetheart Sets
also in Clansman s Plaid,
Dalmatian and
other fascinating
patterns.
Ladies’ swimsu it :
Pharaoh’s Darling— $10.95.
Mens sport set:
Sudan shirt— $6.95;
Sudan 5-row boxer— $4.95.
For name of nearest
store, write: Sweethearts,
Catalina, Inc., 443 So. San Pedro
Los Angeles 13
© Catalina, Inc., a division of
Julius KAYSER& Company
hosiery . lingerie • gloves
PHOTOPLAY
st!\r
I This year's Bloomer Girl,
Anne Francis, wears a ging-
ham-checked all-in-one sun-
suit with built-in figure
shaping. It features softly
padded, wired bra, bodice
boning. Back has snug lastex
section. Red or black with
white. 32A-38B. By Lovable. $5
2 Crisp, clean-looking white
sharkskin has returned to the
beach scene, shown here in
Anne's swimsuit — a sharkskin
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3 Tan-enlivening white again,
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I Continued
For
Where to Buy
Star Fashions
turn to page 86
Anne Francis stars both in M-G-M's exciting
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Aldo Ray
(Continued from page 46)
1 outed his dream to the sea. “I’ve lived
< be president. I want to be president of
le United States. And I thank you for
owing me the way.”
When you have swallowed a dream, it
) not easy to get rid of it, and the dream
is still with him ten years later on the
and of Saipan. A sailor third class with
thing to do in the evenings before the
panese bombers came over, he practiced
•iting campaign speeches. When the
irm sounded, he put his paper away
d strolled out to look at the sky.
For fifteen nights he stood beneath the
irs and watched the planes come over,
air exhausts cutting swatches of flame
the midnight sky.
The sixteenth night, he kept the same
itch — on a hill that sloped down to the
ean below. The first wave of planes
me in from the beach and passed over
In.
The dream flopped a little in his
imach as he looked down at the beach.
the darkness, it looked almost like
a California coast. Following an impulse
at he cannot yet explain, he slid down
a cliff.
‘I thank you,” he said to himself and
the ocean, softly, so that no one could
ar and laugh. “I thank you for showing
a the way. . . .”
And above him, the place where he
Id watched for fifteen nights was torn
fragments by a bomb.
Aldo Ray will most likely never be
esident of the United States, and he has
3 1 quite gotten used to this fact yet.
iis is not to say that he couldn’t stand
chance to be president if he wanted to,
t chance and fate have made him a
>vie actor instead.
The twenty-nine-year-old, frog-voiced
-politician does not know whether to be
;ased or angry at fate and chance. “You
l ow,” he says a little wistfully, “I think
i:ould have made a good president.”
He puts one arm around his wife when
says it though, as if to remind himself
l at she is part of this new dream. He does
t say that meeting Jeff Donnell, know-
% her, building with her a house over-
liking the city is worth anything that he
ght miss because of it. He does not
led to say it. It is in his eyes.
‘He’s a good actor, too,” Jeff says. “In
l:t he would be good at anything he
•unfed to do. I think Aldo was born
at way.”
I ‘Thanks, honey,” Aldo says. “A good
sband, too?”
Jeff deliberates. “You forget to hang up
ur clothes, and you forget to tell me
iyone’s invited us to a party until three
<ys after the party’s over, and you even
Irgot to bring money for our marriage
jense, but . . .” she smiles at him,
. a pretty good husband, too.”
They are two mature people, building
.life together on common knowledge and
;ars of friendship and love. They waited
dong time before they got married. For
<e year they resisted all the friends who
• ranged wedding parties for them in Las
bgas and Reno and New York. Then the
lends gave up. And Aldo and Jeff smiled
i d looked at each other and were sure
id decided last October on a honeymoon
1 the sea.
And Jeff is right about another thing,
h is a good actor. With a little more
1 lining and a little more time, he will
1 a very good, a very versatile actor.
• lance and fate have nothing to do with
• at. Their job was begun and over with
•e years ago.
And the part they played was that of
« nonexistent car. It happened because
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Muriel Burton Cliffside Park, New Jersey
Miss J. Clancy Toronto, Ontario, Canada
Cathleen M. MacMullen East Orange, New Jersey
Marilyn Thon Bemidji, Minnesota
Deanne Raye Torbert Havertown, Pennsylvania
I
77
Aldo’s brother Guido did not have a car.
Guido read in the San Francisco news-
papers that Columbia was looking for foot-
ball players to be in “Saturday’s Hero.”
He persuaded Aldo to drive him down.
Once there, Aldo decided to be inter-
viewed, too.
The man in charge listened to him and
laughed. “Come back when you don’t have
a cold,” he said.
“I don’t have a cold,” Aldo said. “I talk
this way.”
“Have you ever acted?”
“No.”
The man shrugged. “If you can’t act . . .”
“I can act,” Aldo said. “Just listen to
me.” It was a challenge. At that time, at
that place, it was the biggest challenge
in the world. He had already made a start
on his political career. So he delivered one
of the campaign speeches that had elected
his constable — a job equivalent to police
chief — of Crockett, California. The speech
won him a part as John Derek’s roommate.
The same challenge that kept a young
boy from drowning made an older one do
something that happens once in a mil-
lion times, get a good part in a good pic-
ture without ever having acted before.
That was not luck. It was just something
that happens to people who are foolish
enough to swallow dreams.
There is something else that seems to
happen to such people. They grow up
to be very nice. Intelligent, not overly
critical of life or people, their hair turned
golden by the sun, they are always bound-
ing after rainbows, and the sound that
they make is laughter.
There was nothing much for Aldo Ray
to laugh about when he was a child. Born
September 25, 1926, he was three years old
when the Depression left men begging for
jobs as day laborers at the sugar refinery
in Crockett. Silvio da Re, his father, was
one of the lucky ones. His job paid $4.50
a day. It. was enough for a man who had
only come to America nine years earlier,
a man who still spoke Italian in his home.
By 1937, there was not even a job. There
was a strike instead, a strike so important
that it was written about in the New
York newspapers, so violent that for three
months the schools in Crockett were
closed.
Silvio and his wife, Maria, and their six
children sat home and waited, while goons
and scabs from the factory fought in the
streets outside. This is Aldo’s version of
the waiting:
“We didn’t have much money, but what
did that matter? Every day we looked at
the wine that Papa had made the sum-
mer before, to be certain it didn’t turn
sour. Then we went fishing. We fished
every day, and there was always fish
soup on the stove and fried fish for
supper, and Guido and I — we were the
oldest — even made some money. I was
eleven, and Guido was ten, and we col-
lected old scraps of copper. We averaged
fifty cents a week from the junkman.”
That was not Aldo’s only job. When he
was eight, he had gotten a job in a
grocery store. He worked after school,
Saturdays and Sundays. In return, he got
five dollars a month and all the fruit and
vegetables that were about to spoil. He
got a bonus, too. Each week the market
held a drawing for free bags of canned
food and vegetables, a drawing that was
more important to them than a drawing
today for a 1955 Ford. And each week, the
owner put one of the bags aside for Aldo.
Even now the owner smiles when he
thinks of the boy. “He was always laugh-
ing, always dreaming, always running
very fast as though there was something
p ahead that he wanted to catch up to and
that he was still too young to catch. But
I think we all knew that he would catch
up to that goal of his someday.”
I O
Aldo does not think that he became
really independent until he was thirteen.
That summer, Angelo, a friend of the
family, gave him a job. Angelo had forty
acres of land where he raised artichokes,
and he and Aldo worked the land alone.
Angelo called him “II Matto” — the crazy
one.
“He was, crazy,” Angelo has said. “I take
him out to a field — a big field. I tell to
him plow it. I leave him. He does not
come in to lunch. Then, about two o’clock,
he comes back. He is covered with dust,
with sweat.
“ ‘How much have you done?’ I ask him.
“ ‘How much?’ he says. ‘I’ve finished it.’ ”
Angelo scratched his head. “A field that
would take a hired man a day and a half.
A field I would plow in a day. And he —
II Matto — he does it in four hours.”
For his summer’s work, Aldo got room,
board and $60. He took the money home,
put fifty dollars in his pocket and went
to talk to his father. He went to talk
about football. In his first year of high
school, he had been on the freshman team
and he had broken a leg. But now he had
plowed all summer, and he knew the leg
was well.
He took the fifty dollars out of his
pocket. “Papa,” he said, “for the doctor,
when I broke my leg.” Then he smiled.
“Now,” he said, “now I can play foot-
ball again.”
The other ten dollars bought two pairs
of corduroy pants. Never again did his
family pay for his clothes.
“I was the oldest,” he has said. “I had
to do it.”
The next summer his salary was tripled.
Angelo felt that his fourteen-year-old
helper was worth the money.
When he was not working, Aldo was
winning prizes and presidencies. He was
an officer of every class from the second
grade through the twelfth for at least
one semester. The other semester of each
year he was such diverse things as Thrift
Manager (second grade), Keeper of the
Rabbits (third grade), and Commissioner
of Boys’ Athletics (sophomore year).
He has been characterized as ambitious,
determined and determinedly forthright.
One of his teachers had reason to remem-
ber the last. When he was graduated
from grammar school, he took the prize
for athletics, the prize for general
scholarship, the prize for English, the
prize for sportsmanship and the prize for
mathematics.
The American Legion Award for all-
around student was given to another boy.
After the assembly, he walked politely up
to the judges and asked why. It seemed
to him that if he had won all the other
prizes the school offered, he was its all-
Color portraits of Janet Leigh, Mitzi Gaynor
and Elaine Stewart by Stern,- Donna Reed and
Mona Freeman by Hayden; Doris Day by Six;
George Nader by Bell; Anne Francis, June
Allyson, Janet Leigh, Barbara Rush and Kim
Novak by Ornitz; Pier Angeli by Six; Aldo
Ray by Cronenweth; Jane Powell by Apger;
Marlon Brando by Powolny; Jane Russell by
Jones
around student. He still feels this w ;|
It is not conceit. It is an honesty tin
is almost brutal and it is still with hit]
both as his greatest asset and his sever !
fault. It was also the cause of his fi 3
quarrel with Jeff.
They had been married three wee! 1
and friends were coming to dinner, jl
had made hors d’oeuvres and Aldo hi
been official taster. The hors d’oeu\ 1
was, he said, the worst thing he had tastl
in his life.
The rest can be imagined.
Despite his brilliant honesty, he is rl
a diamond in the rough, waiting to I
pounded and polished into shape. He -wl
president of the California Scholars! H
Federation at Crockett High School fi
two years and he was awarded a scholal
ship to the University of California wh
he graduated.
But it was 1944 and there was a w
going on. So Aldo Ray became Seam.
Ray and was sent to Saipan. After
while, Saipan was no longer target pra
tice for the Japanese. So, when a noti
went up on the bulletin board that tr;
outs would be held the next day for t
“frogmen” — underwater demolition tear
— Aldo decided to volunteer.
So did every one of the other one thoi
sand two hundred and fifty-four sailc
on Saipan. There had been a rumor th
the frogmen would be sent back to t
United States to train, and they all show-
up at the edge of the Pacific for the tr-
outs.
They were pushed into four lines by tl
harried commanding officer, told to swi
to the coral reef about a mile away ai
sent off at three minute intervals.
“Some of them couldn’t swim at al
Aldo said, grinning at the thought. “Thi
just thrashed around and tried to ke-
from being stepped on. Finally, one
the officers waded in and pulled them ou
Aldo was in the last line. A hundr-
yards out, he had passed most of the mi
in the third line. Five hundred yards fro
shore, he was first. From then on, ]
merely lengthened his lead. He was sittii
on the coral reef for almost five minut
before the second man panted up.
Aldo and thirteen others were chosi
and shipped to Hawaii for training, fi
training was brief. He managed to g
himself attached as a replacement to
team that was going back to the Sou
Pacific. Their job was to reconnoiter ai
report everything they saw and felt frc
the point they were dropped off (usual
five hundred yards from shore) in to tl
beach. Three days before American assai
troops landed, Aldo and his team swe
the beach at Okinawa.
As they did in all their missions, th-
swam in when it was turning light —
the early morning. They had no aqi
lungs, only swim fins, goggles and knivi
and they swam on the surface. But tl
Japanese shore defense never even foui
out they were there.
A little later in the war, they we
dropped off the coast of Japan. Their j<
then was to make sure there were i
mines, and their mission took them le
than forty mles from the bombed ci
of Hiroshima.
After that, the war was ended for Aid
He traded his swim fins for his old un
versity scholarship. And the old drea
began to flop around a bit again. 1 1
looked for a place to start. He decided
run for constable of Crockett. It was
fine job, but there was one obstacle. Tl
man who was constable had been doing
good job for fifteen years.
It is almost impossible to dislodge
man who has been doing a good job f* ;
fifteen years. It is even more difficu 1
when you are still in college and yc
are only twenty-three years old. But Alt
did it. He was elected town constable.
He is very proud of the year he spent
in office.
“We have a jail in Crockett, but I didn’t
use it. I didn’t make one arrest that
year. There was no serious crime, and
I’ve always figured that it’s senseless to
put a black mark on a man’s record for
a little thing. So when the old pensioners
would get drunk and start trying to knife
each other, I’d just go down break it up
and make the soberest man my deputy.
“Then the two of us would pile the rest
in my car. I’d open the windows and take
them back to their rooming houses. By the
time we’d delivered the last one, my deputy
would be sober enough to walk home him-
self.”
He was a good constable. When one of
his “boys” got into trouble with the county
sheriff and was put in jail because he
couldn’t pay a $100 fine, Aldo paid the fine.
“He had a wife and a kid,” Aldo said.
“I couldn’t do anything else. And he paid
me back — every bit of it.”
It was then — when he was worrying
about his final exams and thinking about
running for Congress in a year or two —
that his brother Guido needed a car.
After that first picture, he went back to
Crockett and bailed out more drunks.
Then he got a call to test for the lead op-
posite Judy Holliday in “The Marrying
Kind.” (The person who played the test
I with him was Jeff Donnell, and that was
!j the beginning of that.) When he got the
part, he resigned his office and took a
house by the ocean in Santa Monica.
There were a few more parts, and then
he sat by the ocean and waited. After
Jeff’s marriage broke up, he learned about
Jeff, met her friends, took her son, Mike,
to the movies, read her daughter, Sally,
fairy tales.
He learned that he and Jeff both liked
to cook and he would come over to her
house at four in the afternoon, his hands
full of difficult recipes and the groceries
he’d bought to try to make the recipes.
Her first gift to him was a snail tray (for
serving cooked snails). His first gift to
her was just as practical. It was a gold
bracelet with a heart engraved “Happy
Birthdays Forever.”
“It was engraved that way,” Jeff says
wryly, “so that he could forget all the rest
of my birthdays.”
His first gift after their marriage was
practical, too. They were honeymooning
among the rocky crags of Santa Cruz and
his gift was a pair of tennis shoes.
After the waiting came “Battle Cry,” in
which he plays Andy and in which he
makes the audience leave the theatre
thinking of Andy most of all. “Battle Cry”
and success. High point of the success
right now is “The Gentle Wolfhound,”
which he is making for Columbia and in
which he plays his first real romantic lead.
Has he changed? A sunbeam doesn’t
change. It may grow more confident of its
power to shine. It may stop swimming so
fast across the sky. It may grow a little
older and settle down for a while on a
comfortable cloud. But a sunbeam doesn’t
change.
Neither does a boy who has swallowed a
dream. The dream gets a little bigger per-
haps, or even a little smaller. But it still
churns around after the last field has been
plowed and the last prize won and the last
beach unmined.
It causes a queer feeling in the stomach
when the last part has been won and the
last performance has been the best possi-
ble. That is when it pulls you a little faster
and heads in another direction.
And when that happens don’t take any
bets that Aldo Ray won’t be president of
athe United States after all. Don’t take any
bets at all.
The End
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( Continued from page 39)
train bearing down upon the car carrying
her and the other three kids. As she
screamed, her father would thunder out
at her from the next room, “Doke, you go
back to sleep.” Trembling, she’d obedi-
ently huddle silently under the covers,
knowing that presently her mother would
steal in to comfort her.
However, she wasn’t going to think of
this much longer. On this exquisite
spring day, she would cheer herself with
the sure knowledge that very soon she’d
be out again, with the other kids, going
down to the ballroom to listen to that
wonderful band leader with the curly
hair who had played and whom she
adored. Or she’d be going out on the
scrimmage field to watch the boys try out,
and maybe that brown-eyed fellow with
the broad shoulders would be there and
maybe this time he’d smile at her, even if
he was three whole years older than she.
And of course she’d see Jerry Doherty.
Why, by June, she and Jerry could cer-
tainly go out on the road again, the very
day school closed. Five hundred dollar
prizes here in Cincinnati they’d won when
they were a mere fourteen. But now . . .
She stopped, electrified with her dream.
Hey, now she could sing as well as dance.
Just suppose, as she danced, she sang
something like this “Embraceable You.”
And just suppose she taught Jerry to sing
something like, well, something like, “I’ve
Got You under My Skin.” Goodness
knows, she could teach Jerry to sing, for
what could be simpler? You just con-
trolled your breath a bit, as Grace Raine
had taught her. You opened your mouth.
You pronounced the words clearly. That
was all there was to it.
But in hers and Jerry’s act, it would be
terrif!
“Wow,” said Dorothy Kapplehoff, jump-
ing with excitement.
Then it happened.
The crutches fell away from her. She
screamed, as her bad leg gave way be-
neath her. “Mom,” she screamed. The
floor seemed to rise up and hit her just
as she fainted.
She was a different girl, eight months
later, when the doctor finally took that
second cast off her leg. Her whole world
was different.
H«r mother and father had separated. It
wasn’t one of those friendly things that
people talked about in Hollywood. Mom
and Pop didn’t talk at all. They lived in
different parts of Cincinnati now, that was
all. And her brother Paul was talking
about the possibility of war in Europe and
how it might affect all their lives. And
her classmates had gone along so far in
school without her, she knew she could
never overtake them. As for the boys,
well Jerry had other interests now, and
that man of the world, nineteen, who
worked in the drugstore, she couldn’t even
find trace of him.
“You could have a career,” her mother
said, when she told her all these sorrows.
“One thing these eight months have done
for you, darling, is make your voice bet-
ter and better.”
“But what could I do, limping around.”
“You won’t keep on limping. Besides,
who will know on radio? Grace Raine
can get you a job down at Station WLW.
She’s told me so.”
“Oh, Mom, darling, can she do it? Can
I do it? Do you really think I can? Just
till I get married, of course.”
“Of course, just till you get married,”
her mother said.
Being on radio was heaven. Just sheer
heaven. It almost didn’t seem right to
Dorothy, taking money for doing some-
thing she loved doing so very much. Just
standing there, singing, making believe
the room in the radio station was a terrific
tropical beach on a terrific, warm moon-
light night or maybe a room in a New
York penthouse, overlooking the whole
city and rain falling against the windows,
while she sat all cozy and warm in front
of a glowing fireplace with the man of her
dreams.
“Why don’t you try making a few rec-
ords?” her mother said to her after a
few months.
“I could, couldn’t I, Mom? Maybe I
could send them out to some of those big
recording agencies or other stations. May-
be they’d want me for something — just
till I get married, of course.”
“Oh, sure,” said her mother. “Just till
you get married.”
Dorothy was crazy about all the really
big singers. Frankie. Bing. Perry Como.
Dinah Shore. She bought all their rec-
ords, played them constantly, listened to
them eternally on radio. But when she
got her own finished records, she didn’t
have enough nerve to send a pressing to
any of them. From some resource within
her brain, she got the idea of sending one
to Bob Crosby. He just sounded so
friendly, and his band was so keen.
Her own pet of what she had recorded
was “With the Wind and the Rain in Your
Hair.” She sent that one to Bob where
he was playing, the Blackhawk in Chi-
cago. Her note said, “I love your band.
I’d like to sing with you.”
This was fresh, she knew. She signed
the note “Doris Day,” the name Barney
Rapp had given her before he’d let her
sing a bit with his band. Barney had
discovered her right there in Cincinnati,
through a song plugger who’d come round
to the radio station. She’d sung “Day
after Day” for him, and Barney had said
she was okay, but her name Kapplehoff
had to go. Barney had given her “Day”
from the song. Her mom had given her
“Doris” from Doris Kenyon, Mom’s movie
favorite, and “Doris Day” was then in
business.
But Bob Crosby was big time!
Two days later, she got his wire. “Come
on up,” it said.
She went. Like the radio show, it was
heaven, being the canary with the band,
the only girl among a lot of fellows. Of
course, most of the fellows were very
much married, but still. . .
Fun, too, learning how to dress. Learn-
ing how to travel. One-night stands, the
fellows in the band said they got to be a
bore after a while, like audiences got to
be a bore, too. But she hadn’t hit that
point yet. It was all a ball to her. Es-
pecially since now both her legs were just
fine, like her over-all health. Good
shaped legs they were, too.
Only Bob wanted to get back to Cali-
fornia, off the grind for a while. What
would she do when the tour ended? Go
back to Cincinnati? The kids she knew
there now seemed too young. Her twen-
ties were still a long way off, but she
felt so worldly.
Just then, the call from Les Brown —
Les Brown and his Band of Renown —
reached her. Golly! Les Brown wanted
her. Her, Dorothy Kapplehoff. No, no.
She, Doris Day. She accepted in a big,
fast flash.
She came in to the first morning’s re-
hearsal call with Les Brown and his Band
of Renown and the fellows were all loll-
ing around, just as they did at rehearsals
with Bob’s band. “Hi,” they all said to
her. All except one. Name of A1 Jor-
dan, that one. He had brown eyes, black
hair, beautiful teeth and a Ford converti-
ble car. Brother, that was really keen!
It turned out A1 didn’t even belong with
the band. No, siree, he was really at the
top, trombonist with Jimmy Dorsey’s band.
He’d just turned up that day with the
Brown outfit to do a bit of jamming, if
somebody had the urge.
Young Miss Day, very aware of the
handsome Mr. Jordan, was happily aware
that he was happily aware of her. She
sang as effortlessly that day as she had
sung to the little speckled bird in the tree
outside her bedroom window.
A1 Jordan said, “You’ve got style, style
in your phrasing, style in your dressing
and manner of handling yourself. Have
dinner with me, will you?”
They had many dinners. They had much
talk, vivid, discovery talk, like her find-
ing out he was a musician’s musician,
which was the highest praise in their cir-
cle. The boys in the band all looked up
to him, she soon saw. He was an artist.
But he told her he looked up to her, as an
artist, too.
j. Life, to young Miss Day, became a Bowl
! of Cherries. Life was a song, and she
was a pretty girl like a melody and he
I was the only boy in the world. When he
did ask her to marry him, she didn’t hesi-
tate for one second.
He did point out to her that he’d have
to be on the road. That meant separations.
He did point out to her that her record-
ing of “Sentimental Journey,” which she’d
made with Les’ band, had made her a big,
big star (as well as a big pile of money).
He wasn’t so sure that she should give it
all up for love.
But she was sure. Love. Marriage. It
was all she wanted. She said she wanted
i to go back to Cincinnati, to be near Mom
and her brother Paul. So she got them a
house in Cincinnati’s Price Hill section,
a wonderful spot, and there she expected
she’d settle down with A1 and live like a
dream forever after.
One trouble with dreams, however, is
that they are not worth a darn around a
kitchen. Doris couldn’t cook at all. Some-
times to get around this she started dinner
at ten in the morning to get it finished
by five in the evening.
Another trouble with dreams is that
they make loneliness even lonelier. In
Doris’, the bride’s, dream world A1 was
always at her side, adoring her. In fact,
t this was something quite else again.
She knew it wasn’t his fault. He hon-
I estly did have to be on the road to make
a living. When he was with her, it was
true, that he was constantly adoring, con-
stantly babying her. But she got notions
in between times. Were there other girls?
Did he really miss her as much as she
missed him? Even the romance of his
daily special delivery letters (which in-
evitably arrived at 3 a.m.) and his almost
daily wires did not quite soothe her.
Once they quarreled so violently, over
what he said were just her notions, that
she threw her wedding ring away and said
their marriage was over. They hadn’t yet
been married so much as a year when that
happened. A1 went angrily out on the
road, and he was no sooner gone that she
regretted it. When he came back, he had
a second wedding ring with him.
“Will you wear this, darling?” he begged.
She melted with happiness. And it
wasn’t too much later that she discovered
motherhood was heading her way and her
joy knew no bounds. Both she and A1
wanted a son, and both of them refused to
face the fact that the band business wasn’t
what it had been. His one-night stands
were further and further distances from
one another, further and further apart in
so far as earning were concerned.
The baby was a boy, and an angel. She
named him Terry, and A1 was a very proud
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81
father. Still the baby didn’t bring the bliss
with him all babies are supposed to de-
liver. This perfect child brought complica-
tions with him, the extra feeding, the extra
housekeeping, the continual need for extra
money.
It just all got to be too much for
dreamers, particularly to young dreamers
with temperament. Heartsore, disillusioned,
they agreed to divorce.
Dorothy-Doris took the baby home to
Mom, took herself down to WLW, her old
radio station. “Give me a job,” she asked
them.
“But you’re a big shot now,” said the
station manager. “I couldn’t afford to pay
you anything but the straight fee for
singing commercials, $64 a week.”
“I can feed my son and me on $64 a
week,” she said. “Please hire me.”
One of the first nights she was back on
the air she sang the lullaby her mother
had sung to her, as a baby, and which she
was now singing to her son, “Go to Sleep,
My Baby.” The pain of the sobs she was
holding back made her throat ache.
For weeks thereafter the offers from
bands poured in to her. She had been
singing from her heart and her sorrow,
and she hadn’t thought of what the result
might be. Now she selected from among
the offers the Stan Kenton outfit. It meant
the road again. It meant leaving her son.
But it also meant she could support her
son in the manner in which he must be
supported in order to be strong and
healthy. It meant she could pay Mom’s liv-
ing costs and her own.
She was twenty-two. Terribly old. She
told herself she had no dreams left, no
time for dreams. So then she met George
Weidler, who was the top saxophone man
with Kenton. He was the brother of Vir-
ginia Weidler, who had been a kid movie
star, and he was a fine musician.
From the moment of their meeting, she
loved him utterly. The emotions she had
felt for A1 paled, like her high school
crushes, like the passions she had once
known for her dolls.
She and George talked, talked, talked.
They created music, they danced, they
talked. The moment they got an engage-
ment where they settled down for a solid
piece of time, they gave themselves time
to get married. The place was Mount
Vernon, just outside of New York City,
where they were playing.
“I’m going to give up singing,” Doris
told George. “I want to settle down, be a
perfect wife and have lots of children.”
“Well, as you know,” said George, “there
were seven kids in our family, even if Vir-
ginia turned out to be the most talented.”
Actually, it seemed that Doris and George
had everything in common including their
German ancestry. They had both been
brought up in a household dedicated to
music. They were both the same age.
They both wanted the same things. And
they were truly in love.
But, again, things weren’t too good in
the band business (they seldom are, but
young lovers don’t stop to think of such
things). “If I could just get to the Coast,”
George said, “I’m sure things would pick
up for me. There’s radio work, picture
work, recording work. We wouldn’t be for-
ever dependent on this night-club work.”
“All right, darling,” said his adoring wife.
When they hit Hollywood in 1946 they
discovered the housing shortage. They’d
left Terry back in Cincinnati until they
got settled, but it wasn’t too long before
they discovered if they were to have a roof
over their heads they had to buy it. They
didn’t have the price of a house, but they
could afford the swankiest trailer you ever
saw, so they got that, and had it towed out
to a mighty pretty spot which overlooked
the mountains and the sea.
Doris adored it. One thing she’d always
been in the housewife division was neat as
a pin and this was like a game, keeping
such a tiny place up. And she had finally
learned how to fry a plate of eggs without
ruining them, and to boil coffee and of
course there were the frozen things really
romping into market, which did save their
meals.
Doris trotted about in a state of bliss.
George loved funny little cafes in out-of-
the-way places, loved catching different
acts on the night-club circuit. Because he
loved it, she loved it, too. And because his
eyes would be seeing them, she loved
making curtains for the trailer windows
and planting window boxes of flowers
for it.
However, George was discovering that
on the Coast he wasn’t so much George
Weidler, excellent saxophonist, as he was
Virginia Weidler’s young brother. He
haunted the booking offices, the agency
row. Nothing came up.
But because of her records, Doris got
many bids. “I’m retired,” she said to one
and all. However, when the offer of a ten-
weeks engagement at New York’s Little
Club came up, George told her she was out
of her mind if she didn’t take it.
“You’ll come with me if I do?” she asked.
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“No, doll. I’ll stay here and still hunt
some work.”
“Then I won’t go.”
“You know we need it for eating money.”
So she let him persuade her. It was mid-
winter and the night she was due to open,
it began snowing. She knew that she
should be excited. It was actually the
swankiest place she’d ever sung, but she
simply felt cut off from California, from
George, from her baby and Mom in Cin-
cinnati. She waited around her hotel room
till the last minute, hoping for the phone
to ring, long distance from California, but
she excused the fact that it didn’t, saying
it was because they didn’t have a phone in
the trailer and that George had probably
told himself he shouldn’t spend the money.
When she came into the club dressing
room, however, she saw the telegram. She
pounced on it joyously. While outside, she
could hear the band about to go into her
intro. Because of the weather, she’d de-
cided she’d open with “Let It Snow, Let It
Snow, Let It Snow.” She tore the telegram
open.
It was from George, but she couldn’t be-
lieve the words. Even months afterward
she could not remember them exactly.
Only their meaning. Only their terrible
meaning.
“Don’t come back,” the words screamed
out at her. “Don’t come back. As far as I’m
concerned it’s all over. George.”
She knew it had to be some dreadful
joke. She knew it had to be one of her old
nightmares coming back to her. If she sat
quite still, if she did nothing, she told her-
self, it would go away.
There was a knock on her dressing-
room door. “You’re on, Miss Day,” a voice
told her. Then, presently, “Miss Day, you’re
on. There’s your cue music.”
She went out, and through one of the
club windows, she could watch the snow
falling. Falling on her heart, she thought.
She began to sing, and she shivered, from
pain, and the tears began falling down her
face. The audience went mad. They thought
she was acting.
Her second number was “This Love of
Mine.” Now she really cried. The audi-
ence adored her.
Somehow she got through all the num-
bers, and then she was backstage, tele-
phoning, calling Hollywood, calling all the
places George might be. Only he wasn’t at
any of them.
She went to the management and begged
them to let her out of the engagement. But
she was too big a hit. They held her to
the letter of her contract.
The next day, she tried telephoning
again, and wired and wrote. She didn’t
reach George. That day or the next or the
next or the ones after.
When the impossible ten weeks were
up, the management begged her to stay
longer. She refused. She had only one
thought in mind, to reach the Coast at the
earliest possible moment.
Once in Hollywood, she drove straight
out to the trailer. There it was, right where
she had left it. But the flowers in the flower
boxes were all dead from lack of water,
and at the open windows, the curtains
blew in and out, dirtied by the dust and
the rain.
She unlocked the door and went in.
George was not there. No one was there.
Plainly, no one had been there for weeks
and weeks.
She drove back into town, but none of
their friends had seen George. No agent
knew his whereabouts. She took a room
in a small hotel, a very inexpensive hotel,
in the center of Hollywood and she started
haunting the Boulevard. A dozen times a
day she thought she saw him and would
turn her head eagerly, her heart beating.
Always she was wrong — and disappointed.
...are you really lovely to love?
Doris knew she had to get work to send
money to Mom for her and Terry. Finally,
she went in to see her agent, A1 Levy.
“Sure I can find you something,” Levy
said. “You just sit tight, kid, and I’ll phone
you every day and you phone me when-
ever you feel like it. If I’m not in, you talk
to my assistant, Marty Melcher.”
She noticed that Mr. Melcher was at-
tractive. Nothing more.
A1 Levy made an appointment for her
to see Bob Hope. They waited hours, then
Hope said he couldn’t see her. “But she’ll
be famous one of these days,” Levy argued.
“When she is, bring her around,” Hope
said.
Her money ran lower. “Say,” said Levy
on the phone to her one morning, “I’ve got
an appointment for you to see Mike Curtiz.
You know, he’d got that picture ‘Romance
on the High Seas’ ready to go, but Betty
Hutton can’t do it because she’s going to
have a baby.”
Doris felt a stab of jealousy. A happy
girl going to have a baby. “But I can’t
act,” she said to Levy. “And I’m not pretty
enough for pictures, anyhow.”
“Let’s go see,” said Levy. “The guys who
wrote the songs asked for you, especially.”
It was like the Hope appointment. They
waited hours. Finally the great director,
Curtiz, came out. He gave Doris one look.
It wasn’t a flattering look. He virtually
collapsed when in reply to his question
about her dramatic experience, she said
all she’d ever done was play a duck in a
school play.
“Just listen to her sing, Mike, please,”
Levy pleaded.
They put a song in front of her, a new
song that was to be in the picture. It was
called “That’s Magic.” A love song. They
played it through for her once and she
loved it immediately. A true love song.
She sang it, and at the end, looked up
to see the tears in Curtiz eyes.
“With your kind of heart, you can act,”
he said.
She called her mother in Cincinnati the
next day, after her screen test. “How’s
Terry?” she asked. “How are you? Yes,
I’m fine.” It wasn’t until she was almost
ready to hang up that she added, “Oh,
Mom, I’m signed to a seven-year contract
at Warners.”
It was 1947 and everybody was wonder-
ful to her at Warners. She liked the days,
but the evenings, the nights were terrible.
She still walked Hollywood Boulevard and
Vine Street, hoping, searching. Or she sat
in her little hotel room and played Perry
Como records, especially his “Without a
Song” so many times that she wore out
four pressings of it.
She was a smash hit in “Romance on the
High Seas.” Bob Hope sent for her. “I was
crazy,” he said. “Now look what I have to
pay for you.” She was made a regular part
of his radio show. She made a recording of
“It’s Magic.” It sold a million copies.
She was big business. More and more
she had to transact things with Levy.
More and more Marty Melcher had to
handle details for her. She liked and re-
spected him very much and realized never
before had she had a male friend. She
figured he understood about girl singers
because he was married to one, Patti An-
drews.
Her income began climbing, a thousand
a week, two thousand a week. Her second
picture was a smash, too. She said to
Warners, “I’d like to make family pic-
tures. About families. Stories about mar-
riages, happy marriages.”
Mom was living with her now in a little
house not too far from the studio, and
Doris was going through the crazy situa-
tion of persuading her six-year-old son
that she really was his mother. Crazy-
wonderful situation, because he was the
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most all-boy small boy she had ever seen.
Almost a year and a half had gone by
since her Little Club engagement when
Doris Day, now the very famous star, saw
George Weidler coming down the street
toward her. As their eyes met, he smiled
and held out his hand to her. Because she
had dreamed of this moment so long, and
had so long given it up for lost, she
couldn’t think of what to say.
“Let’s go get a drink,” she said, inade-
quately.
His eyes were warm and friendly. “I’ll
buy you one, Dodo,” he said. “But I don’t
drink any more. Nor smoke, either, for
that matter.”
He had never been much of a drinking
man, any more than she was much of a
drinking girl. But still!
“What happened? What’s happened to
you? You look so — well — contented.”
“I am,” he said. “Don’t laugh. What hap-
pened to me was religion.”
They found a restaurant, and over coffee,
he told her all about it. It was Christian
Science that had brought him such peace
of mind. Yes, he knew of her success, and
he was very proud of her, and he reminded
her that he had always predicted it for her.
They talked for hours, but when they
parted, Doris knew it was all over. Per-
haps the source that had brought him such
peace would bring it to her, too, eventually.
So now her life took on a new dimen-
sion, work during the week, Mom and
Terry during the evenings, church on Sun-
day. And once in a while, and gradually
twice in a while, and after a bit, three
times in a while, she and Marty Melcher
would consult about business matters in
the evening. Finally one night, at dinner
at her house, she said, “I don’t think you
really come here on business matters. I
know you don’t come to see me, as myself.
You just come for Mom’s cooking.”
She was joking, of course, and he smiled
at her, but for the first time Marty did
talk, then, about himself. She had known
for months that his marriage was only a
technical one. He lived alone, but like her,
he had not sought a divorce.
But now he began talking about him-
self as a little boy from North Adams,
Massachusetts, who had never known his
father. Who had gone to work at the age
of ten. Who loved people and show busi-
ness and personalities — and yet . . .
“And yet,” said Marty Melcher, “I’ve
never been able to discover the girl — any-
one, for that matter — who wanted to live
the kind of simple life I want.”
“What kind of a life is that, Marty?”
“Oh, a perfectly simple house, on a per-
fectly simple street. An early-to-rise,
early-to-bed existence. You see, Doris,
I’ve had so much of night clubs, as my
business, I don’t want any part of them
as entertainment. During the day I have
to meet so many people, phone so many
others, I’d like at evening to find a girl
who would be content just to be home,
watch tv, maybe, or something equally re-
laxed. But that’s selfish of me. No girl
who has been cooped up home all day
wants to stay put in the evening, too.”
“What about a working girl?”
“What kind of a working girl would
understand show business?” Marty asked.
“The crazy hours. The crazy demand. I
guess I’m stuck with being a semi-detached
man, and I don’t like it, not at all.”
It came back to Doris, again and again,
that talk, long after the evening she and
Marty had had it. She wasn’t in love
with him. This she assured herself. She
wasn’t crazy for him as she had been for
Al, nor devastatingly overwhelmed as she
had been by George.
He was her friend. Her good, good, intel-
ligent friend. But he was good-looking, and
he gave her all the small courtesies she
had never received from any other man.
Foolish things, but delightful, like always
pulling out chairs for her, holding doors
for her, looking around to be sure she had
remembered her gloves, little important
things.
Besides, Terry thought he was the great-
est. Terry was openly matchmaking, while
Marty played volleyball with him or helped
him fix up a badminton court or swam
with him in the near-by pool.
One day she told Marty she thought she
should buy a house. He agreed. “I’d like
to go hunt one with you, when you start
out on it,” he said.
She found it, finally, a house on a dead-
end street in the Valley, where it would
be safe for Terry to play, where there was
room for a pool, where it was quiet as a
country lane, yet near the studio, too.
She’d be able to go to the studio in jeans
from there and nobody would be the wiser.
It was the house that Marty liked best
of all they had seen, too. She said, inno-
cently, “Oh, Marty, I’d just love to live
here. Wouldn’t you?” Then her heart
missed a beat for she saw the way his eyes
were looking at her, wide-open, begging,
and nothing hidden in their depths.
They became engaged, as simply as
that, and suddenly everything in life be-
came more beautiful than she had known
anything ever could be. True, they each
had to get their divorces, but there was no
strain between them. There was no rush,
no lying, no fear. They were each other’s
best friend, and presently they would be
man and wife.
She had her divorce by June of 1950, but
they had to wait until February of ’51 for
Marty’s to be final. In that interval they
shopped for things for their house. Little
things. Little things like window curtains,
like a plain rug that a husky young boy
could swarm on and not harm, things to
make into planters. Simple things, but
Doris loved the shopping and so did Marty.
And they talked of going to New Orleans
on a honeymoon.
But when the spring of ’51 finally did
get there, and Terry was writing his name
“Terry Melcher” experimentally and call-
ing Marty, “my intended father,” New Or-
leans seemed very far away from the house
that would be theirs.
Doris’ birthday was approaching, the
third of April. “That’s as good a time as
any to be married,” she said, so with her
brother Paul and his wife standing by as
their attendants, she and Marty were mar-
ried, with complete simplicity in the little
town of Burbank. Even as they drove over
for the ceremony, Doris saw some curtain
material she wanted in a shop window and
they stopped and bought it.
They came back for a meal with Mom.
“What a beautiful package deal I got,”
Marty said. “You, Mom, Terry and Doris.”
They were in their house at last.
“Well, you certainly must go somewhere
on your honeymoon,” said Mom. “You just
must. You’ll have years to live in this
house.”
“Oh, gee, must they?” said Terry.
“I guess we really should,” said Marty.
So he and Doris headed out for Phoenix,
only they got lost, and ended in the tiny
town of El Centro, California. They
couldn’t get a room except in a motel. The
temperature was 94 degrees and Marty’s
long legs dangled way beyond the length
of the bed.
Next day they set out for Grand Can-
yon. To Marty’s horror, Doris couldn’t re-
member whether on any of her one-night
stands she’d ever been there. So she came
up to the rim of the world’s greatest view,
said, “Nope, never saw it before. Marty,
let’s go home.”
“Forever,” said Marty — and they did.
The End
84
Inside Stuff
( Continued from page 37)
Alberghetti is now allowed to have un-
chaperoned escorts and Ben Cooper is her
number-one choice. On their first date
the captivating couple went to Ciro’s for
ice cream!
It’s the Truth: That Jane Powell’s con-
gratulatory wire wasn’t the first to reach
former husband Geary Steffen when he
married singer Anne Salva! . . . That
Audrey Hepburn and Mel Ferrer finally
decided it’s much wiser to wait until
they’ve been married longer, before merg-
ing as a professional team. . . . That Dale
Robertson is impatient for his freedom
and anxious to marry Mary Murphy (she’s
weary of waiting!), which is why he filed
a cross complaint to his wife’s year-old
divorce action. . . . That neither Vera-
Ellen or Mitzi Gaynor are expecting the
stork and their studios are that relieved!
Talented Tourists: As a surprise for
Doris Day, one of those dreamy little cars
will be waiting at the dock when she ar-
rives in Europe. Marty Melcher even had
it painted Doris’ favorite powder blue. . . .
And if Tony Curtis can arrange it, when
Janet Leigh finishes “Pete Kelly’s Blues,”
they’ll take a long trip. Cary Grant gave
Tony the name of a slow freighter that
only accommodates a handful of passen-
gers. No one has to make polite conversa-
tion or dress for dinner. And there are no
daily gossip columns to curdle the coffee —
this Tony likes best of all!
Personal to Texas: No, you weren’t see-
ing double! That was Rock Hudson who
went along for the ride with director
George Stevens who was scouting “Giant”
locations — and incidentally, getting better
acquainted with his star. Speaking of el
Rocko, when U-I sent him to the Chicago
premiere of “Captain Lightfoot” recently,
he wired fan-club president Myron Welge
in Missouri (they had never met) and in-
vited him to Chicago. Rock entertained
Myron and thirty club members back-
stage. Back in Hollywood he considerately
confided to Cal: “I met a wonderful group
of people, but one girl worried me. Her
camera wouldn’t work and she was so
disappointed. Of course I didn’t mind, but
on my next trip I’ll pose for her special-
ly!” No wonder Hudson rolls along so
successfully!
Silver Lining: Rory Calhoun is a happy
man! He now has everything, including
peace of mind. But by sad and strange
coincidence he punished himself unneces-
sarily for years. It wasn’t generally known
that Francis Timothy Durgin got into
scrapes that landed him in reform school.
There were contributing circumstances,
and although the callow youth grew into
an exemplary citizen, helping countless
unfortunates along the way, he still had
a guilt complex about his past. Many
Hollywood reporters (including Cal) knew
Rory’s story, but respecting his sensitivity,
kept silent. Now comes the blessing in
disguise! One of those “expose” magazines
has told all. In so doing, instead of hurting
Rory, they’ve actually released him from
fear and the nice, deserving guy never
has to worry again!
Did You Know: That Jean Simmons and
Stewart Granger exchange weekly diaries
while he’s in India making “Bhowani
Junction” and she’s in Hollywood in “Guys
and Dolls”? . . . That Tab Hunter hasn’t
missed a Sunday morning in church since
his sixteenth birthday? It’s a fact.
The End
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Move Over for Jane Russell!
{
( Continued from page 67)
prayers were called on heavily that night
by everybody from RKO. What seemed
like a nightmare to the studio turned out
to be a publicity man’s bonanza. It hit
the wire services and the headlines of
every paper in the country. And somehow,
Jane’s black eye managed to turn in a
healthy profit for “The Las Vegas Story.”
Two weeks after the Las Vegas incident,
Jane took off for New York. She and her
traveling companion were accompanied to
the plane by one of the men from the
studio. As the man unloaded Jane’s stuff
from the limousine, he whispered to the
traveling companion. “I don’t envy you,
traveling with her. She’s like a white
elephant — you can’t hide her any place. Be-
sides, she refuses to act like a movie star.
The traveling companion was soon to find
out exactly what he meant. In Chicago
Jane trudged off the plane in her usual
getup: slacks, fur coat, moccasins, ear
muffs, ear plugs, sleep mask, scarf on her
head — and absolutely no make-up!
“I caught up with her in the ladies
lounge,” her companion related later. “She
was in need of coffee and so was I. So at
7 a.m. I went scrounging around the air-
port looking for coffee. When I got back
to the ladies lounge with the stuff, the
teenagers had, with that sixth sense of
theirs, found out that Jane was on the
plane. She was surrounded. Looking like
the wrath of God, she gaily waved an auto-
graph book in the air and roared, “Well,
here’s your White Elephant.” She had
overheard our conversation and loved it.
“But Chicago was nothing next to New
York. You see, Jane loves jazz. For
most people this is a good, clean hobby,
listening to live and recorded jazz. But
for Jane it means using every free moment
to find out-of-the-way places all over
New York where she can hear her beloved
modern jazz. Refusing to accept the re-
sponsibility of a star, she’ll just start out,
trailing, of course, the entire New York
office, whose function it is to see that
nothing happens to this expensive product.
But once Janie has her mind made up,
who’s brave enough to change it? For she’s
as strong-willed as she is unpredictable.”
When Jane landed in New York from
London last January, after finishing “Gen-
tlemen Marry Brunettes,” she was worn
out and champing at the bit to get home
to husband Robert Waterfield and her kids.
When the powers that be at RKO decided
she should go to the Florida premiere of
her picture, “Underwater!” everyone start-
ed putting up odds that the top studio dip-
lomat would never persuade Jane.
Apprehensively, the woman approached
Jane that afternoon. After she explained
what a fix the whole situation put her in,
old Jane’s big, bleeding, cantankerous
heart acquiesced. Her only provision was
that her two children be air-mailed special
delivery to her in New York immediately.
After a couple of days with the children,
Jane took off for Florida all graciousness
and charm, which continued to be, until,
unpredictable again, she ate some stale food
and became violently ill.
Why RKO’s most valuable property
should be fed stale food would be a news
story in itself, if it were not for the fact
that Jane did the feeding. She awoke one
morning around 3 a.m. and decided she was
hungry. Rather than check room service
to see if anyone were on duty, she found
a tray of tired food from the party the
night before and started nibbling on a few
of the stale goodies. Hunger appeased, she
went back to sleep until she awoke again,
violently ill, at 7:30 a.m. Within half an
hour everything was under control, but
by this time half the hotel personnel, all
of RKO and the press were flipping.
Jane, weak and wan, just about made the
plane that took her back to New York and
her kids. Perry Leiber, RKO’s director
of advertising and public relations, waved
goodbye, holding his throbbing head and
muttering, “Any other movie star would
be demanding caviar and Baked Alaska.
Ours gets sick on garbage!”
“On stale food,” a second studio execu-
tive hurriedly corrected. Leiber was in
no mood for argument. “Yeah, on stale
food,” he amended.
Jane has a good reputation around
Hollywood as a girl who can really blow
her stack. Such temper tantrums can
usually be traced to her oversized heart.
She just can’t say No to anyone. She’ll
take on at least twenty projects at one
time, more than any human being could
accomplish. Then, when she’s caught up
in the middle of production, plus her extra
jobs, she gets completely worn out and
eventually blows her stack. The bellow
can be heard far beyond the studio gates.
While she was making “Son of Pale-
face,” with Bob Hope at Paramount, her
home studio made it a habit to let Jane
say Yes or No on benefit performances.
When the studio representative approached
her one morning in her dressing room with
a “What do you want to do about the bene-
fit— ” Miss Russell didn’t let her get the
words out of her mouth before she blew
her stack. For five full, healthy minutes,
she blew, then collapsed as suddenly into
her former position, exhausted. Never
glib, she didn’t know how to apologize, but
the unhappy expression on her face said
more than merely I’m sorry. And once
the pent-up emotions were released, Jane
readily accepted the benefit engagement.
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In fact, Jane can rarely turn down a
benefit request. Half the time her studio
doesn’t even know how many she’s prom-
ised to do — like the time she promised to
do the benefit at Victorville. It seems a
cousin of her sister-in-law was on a com-
mittee in Victorville to get some sort of
entertainment for a charity benefit. A
week before the benefit, Jane informed the
studio she was going to be on the pro-
gram. The studio couldn’t get any more
out of Jane so after two talks with the
sister-in-law, three talks with the cousin,
a bottle of aspirin and five long-distance
calls to Victorville, they got the facts. Jane
Russell was going to appear in a small
movie theatre with a three-piece combo
at the premiere of another picture from
another studio! No other star in her right
mind would ever think of putting money
in the boxoffice for a rival studio. But
this was different. This was for Jane’s
sister-in-law’s cousin!
Because of her heavily loaded schedule,
Jane’s impatient, wants things done fast.
To get her into wardrobe long enough to
get her properly fitted is a job. She’s
docile and quiet for three to five minutes,
and then her impatience sets in. She be-
gins to wiggle and squirm and finally, very
firmly, brings the fitting to an end with
“We’ve done enough for today.” Then,
when she wears the gown in a picture or
on a personal appearance and it doesn’t fit,
she’ll roar, “Why don’t I get called in for
fittings? I’d come right over.” But then
again, when the gown fits perfectly, the
designers admit it’s worth all their efforts.
Jane hates to wait, hates delays, hates
to waste time. She’ll march through a
restaurant or down a street in galloping
strides, letting nothing interfere with her
plan in mind. She’s impatient with chit-
chat, wouldn’t be caught table-hopping.
She firmly believes all conversation should
be stripped to the bone. Translated (to
her co-workers), this means everyone ex-
cept Jane must be clairvoyant at all times.
On occasion, she has snapped out, “Tell
that shortish, bald-headed man I said No.”
Since the world is filled with short, bald-
headed men, this usually leaves the mes-
senger delivering the message to the wrong
bald man.
Waiting makes her nervous. Recently
she was going to a preview at the Fox
Beverly, and the parking lot across the
street was filled. She hit her brakes within
an eighth of an inch of the “Full” sign
and tapped impatiently on her horn. Luck-
ily, the attendant recognized her and let
her in or else the car probably would
have remained right on the street until
they had space. To top it off, when Jane
came out of the movie and went to pick
up her car, she found she didn’t have any
money — another Russell habit. The at-
tendant merely said, “It’s quite all right,
Miss Russell, pay us next time,” obviously
aware from past experiences, that Jane
never has any money. She blithely says
that her husband handles money matters.
Absolved of all financial interest and re-
sponsibility, she feels no need to carry it.
Not that Jane isn’t aware of the worth
of a dollar. When she was in Paris and
Monte Carlo making “Gentlemen Marry
Brunettes,” she had a Scottish hairdresser
named Pearl. Whenever Jane saw some-
thing she liked, she’d poke an impatient
finger at the object and leave Pearl to do
the bargaining. The result was some
mighty good bargains that movie star
Jane Russell could never have finagled.
Although it might be said that Jane isn’t
bad at finagling.
For instance, the coat she wore all
through Europe last fall. It was a lovely
beige coat and looked marvelous on her,
despite the fact it wasn’t hers. Seems a
writer called at her home for an interview
some time in the spring and left the coat.
She forgot to call back about it until early
fall. When she did, she was informed Miss
Russell was in Europe and the coat seemed
also to be missing. A news picture of
Jane on the Riviera in the coat verified the
writer’s dark suspicions. When Jane
finally arrived home in January, the writer
cornered her point blank and asked about
the coat. Jane looked vague and then
sheepish. “Oh, no,” she moaned. “You
mean that beige coat is yours. . . .” To this
day, the writer isn’t sure Jane wasn’t
acting.
This doesn’t mean that Jane isn’t ab-
sent-minded— she is. Her favorite things -
to-forget are appointments. She doesn’t
have the little annoying habit that most
people do. She never shows up late for
appointments; she just forgets them.
Take the time she discovered she was
going on location in Las Vegas and didn’t
know anyone there. She invited her cousin
and his wife to drive up from Arizona to
visit with her during the making of the
picture. A few nights later she was sit-
ting in a car, in what is called an ex-
terior set, waiting to drive in to the main
set, when a policeman came up to her with
information a lady wanted to see her.
Miss Russell frowned her forehead but
to no avail. “I don’t know anyone in Las
Vegas,” and she dismissed the matter
lightly. As he thanked her and turned
away, she shouted, “What’s her name?”
The officer read the name off a card.
“No, don’t know her,” Jane answered. The
officer was fifty feet away when a roar
that could be heard over the slot machines
of Las Vegas came from Jane’s direction.
“Hey, wait a minute — that’s my cousin.”
After seeing her cousins for a few min-
utes she promised to meet them at their
hotel after the shooting. That is, she had
intended to. But she forgot. Instead she
grabbed something quick to eat and went
back to her motel to retire early. Not
until the following afternoon did she re-
member that she had cousins in town.
After this incident, Jane herself decided
to do something about her forgetfulness
and started to make a daily schedule, ad-
hering to it closely, checking frequently her
appointments. She organized it beauti-
fully, marked each appointment down
faithfully — then forgot to leave herself
enough time to keep them. She’ll leave
a note on the door of her hotel room, with
a careful engraving of a skull and cross-
bones, saying: “Don’t dare wake me before
five minutes of eight.” Her timing is
magnificent. Between five minutes of
eight and eight o’clock the hairdresser,
the make-up man and the wardrobe girl
must have Jane out of her sound sleep,
fully clothed, made-up and hair dressed,
all ready to face her eight o’clock appoint-
ment. This, of course, is a complete im-
possibility. But for five minutes, pande-
monium reigns as the impossible is at-
tempted.
And, of course, if someone should not
heed her warning on the door — she’s in
for an experience, as the woman manager
of the motel in Arizona where Jane stayed
can testify. A long-distance call from
Europe came in at 5 a.m. and, despite the
warning, the woman knocked on Jane’s
door and made known her news. Old
Jane came charging out like a black bull.
She thought the place was on fire. When
she found out it was only a telephone
call — well . . .
Hardly the dignified, self-conscious ac-
tions of an actress, true, but then, as we
said, Jane will never act like a movie star,
will always be amazed when she receives
the fanfare of one. Also, what seems like
perfectly normal behavior to Jane some-
times looks a little odd to everybody else.
Like the morning she was on her way to
the airport in one of the company’s chauf-
feur-driven limousines. She hates to drive
up winding hills and, unfortunately, her
traveling companion, whom they had to
pick up on their way to the airport, lived
on top of such a hill. Before ascending,
she asked the chauffeur to stop and, get-
ting out of the car, requested he pick her
up on the way back. Taking a magazine
and her make-up along with her, she
planted herself, at 7 a.m., on the grass of
a near-by lot. This might not have been
too conspicuous if she’d picked another
plot of grass, but being Janie, she chose
to plant herself three feet away from the
main traffic artery in Hollywood — Sunset
Boulevard. She was thoroughly provoked
and amazed at the attention she received!
But in all fairness to Jane, it must be
pointed out that this is only one side of
her character. The warm, real, human
simpatico Jane is the other side. She is
mother-confessor to the hurt, the troubled,
the lovelorn, an impulsively generous,
openhearted woman, a good wife and a
loving mother. Her big ambition is to
see that kids all over the world get par-
ents and loving homes. She works tire-
lessly with the organization she started,
WAIFS, trying to raise money and in-
form the public. She greets everyone
with, “If you have any extra money, send
it to WAIFS, Hollywood 51, California.”
And if anyone wants a personal letter from
Jane Russell, all she need do is slip a
contribution into an envelope and send it
there. She’ll have Jane’s ever-lasting
gratitude, for it’s true, an elephant — par-
ticularly this White Elephant — never for-
gets.
The End
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A Character — But Brando
( Continued from page 62)
thing to do. Which is one of the most won-
derful things about Marlon. He always
makes you feel natural and relaxed. He
knows how to bring you into things and
into the fun. And as you can imagine,
Gertrude (Heim) and Patricia (Mulqueen)
and I were pretty nervous about the whole
idea of meeting him.
“It all started one evening last January.
I had just gotten home — I had an evening
class at Hunter College that night — and
Mother had kept some food warm for me.
I was just sitting down to eat when she
casually said, ‘A young man called today
and wants you to get in touch with him.’
“ ‘Who?’ I muttered rather disinterested-
ly, tired from the long day.
“ ‘He says his name is Marlon Brando,’
Mother answered, trying with all her might
to keep calm.
“ ‘Marlon Brando,’ I screamed. ‘You’re
kidding,’ ” and I couldn’t eat another bite.
To boot, he’d left his telephone number for
me to call him back!
“The reason Marlon knew of me was
that I’m the president and one of the
founders of the Marlon Brando Charity
Fan Club, and I’d recently sent him a copy
of our first club journal. It took quite a
few phone calls back and forth (I was a
nervous wreck), before we reached each
other. But when we finally did, he was
very interested in the work we were do-
ing and asked all about us. He said he
liked our journal very much and fully ap-
preciated and approved of the charitable
work we were doing on his behalf and in
his name. Then he asked, ‘I’d like to meet
you and some of the other girls in the club.
Could you make it?’ Could we! ‘We’d
love to.’ I answered. So he suggested we
call his secretary and ask her to set a time
since ‘she’s the one who keeps track of my
engagements.’
“Miss Medwick, Marlon’s secretary, made
a date for three of us to meet him for
lunch at one p.m. the next Saturday at the
Russian Tea Room on West Fifty-seventh
Street.
“I’ve been a real ardent Brando fan for
fully five years, ever since I saw him in his
first movie appearance in ‘The Men,’ and
I’ve seen every one of his pictures. In fact,
‘Viva Zapata!,’ my favorite next to ‘Water-
front,’ I’ve seen five times. So the thought
of finally having lunch with him was ex-
citing beyond measure.
“I had met Marlon once before. During
the summer of ’fifty-three I traveled to
Ivoryton, Connecticut, one weekend to see
him in a summer stock performance of
Shaw’s ‘Arms and the Man.’ Marlon was
playing Sergius (and getting rave reac-
tions). It was a wonderfully funny part, in
fact, Shaw had called Sergius ‘my comic
Hamlet,’ and Marlon was terrific. I ar-
rived early and was waiting on the lawn
outside the theatre when I saw Marlon
drive up with a bunch of his friends in
an old car, get out and go into the small
near-by restaurant. While one of the fel-
lows was taking some props out of the
trunk of the car, I went over to him—
quite timidly — and asked if he could intro-
duce me to Marlon after lunch. He said
he’d see what he could do.
“When finally they finished eating and
came out of the restaurant, Marlon was
immediately surrounded and I figured that
was the end of my chance to meet him.
“But I was wrong. While still talking
to the group, Marlon looked up and
around, then said something to the boy I
had talked to. He took me right through
the cluster of people and introduced me
to Marlon. I was very impressed with
Marlon’s courtesy, his sincerity and his
genuine interest in the people around him.
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“Henry Josten, who s the local news-
paperman, summed up the local opinion of
Brando with ‘he’s one actor who’s com-
pletely down to earth. No prima-donna
airs about him, no superiority either. He’s
a friendly, warm person, and I feel we folks
around here probably have gotten to know
the real Marlon Brando better than any-
one in Hollywood or even New York.’
“The following winter I finally plucked
up enough courage to write to Marlon and
ask him for permission to start a Marlon
Brando fan club that would be devoted to
charity. His reply in longhand:
Dear Philomena:
To be plain, 1 am totally indifferent to fan
activity and all that. You mention that there
might be some connection between the fan
club and charitable work.
If my name could be lent to any (but
strictly charitable) work, I happily and
willingly donate my name, for whatever it is
worth, to the purpose of establishing an or-
ganization devoted to charity.
I wish you the most complete success in
your plans and future.
Sincerely yours,
(signed) Marlon Brando
“When we finally met Marlon at the
Russian Tea Room, as he had suggested,
Marlon was a little late. The first words
he said, while joining us at the table his
secretary had reserved, were, ‘I’m terribly
sorry — I was held up. I hope you haven’t
been waiting long.’ (He was a far cry
from the jeans and T-shirt type he’s ac-
cused of being. His diction and voice are
pure and distinct and he was dressed in a
neat gray suit — with tie!)
“I introduced myself and Gertie and Pat.
We were afraid, beforehand, we’d be too
tongue-tied to do much talking, but no-
body has a chance to be shy around Mar-
lon for very long. Before you know it,
he’s asking you questions about where you
live, and what kind of work you do, about
your family and about your club work,
and you’re laughing and kidding, forget-
ting all about your earlier fears.
“When it came time to order we weren’t
very hungry. I guess we were too nervous,
so we ordered sandwiches. But Marlon
wouldn’t hear of us eating everyday Am-
erican food in a Russian restaurant.
“ ‘You don’t want to eat a sandwich,’ he
said. ‘You must try some of the Russian
specialties on the menu.’ And then, very
patiently he helped us select some of the
foods that were his favorites — since we
didn’t know anything about Russian food.
He insisted that we try the Borscht, then
ordered specially prepared steaks for us.
He, himself only ordered scrambled eggs
and coffee. I was sitting there, kind of
toying with my bowl of Borscht. Seeing
that I had hardly touched it, he merely
pulled the dish over in front of him and
finished it himself. There’s no nonsense
about Marlon!
“Marlon was genuinely interested in the
kind of work the club was doing. We told
him about our various projects of sending
get-well cards to people who are very
ill and badly in need of a little boost for
their morale and of collecting, repairing
and sending toys to children in hospitals.
When you talk to Marlon, he listens very
carefully and looks at you with such in-
terest that you cannot help feeling that
what you say is very important to him.
“ ‘Wouldn’t it be great,’ he said finally
after listening to us talk, ‘if we could raise
enough money really to help? And not
just help the ones who are sick. Imagine
if we could send new clothes to a little
girl or a little boy who really needed them.
p Think of how they must feel having to go
to school in ragged, hand-me-down
clothes.’ He promised to help us in any
way in our work and even suggested a
fund-raising ball. Marlon’s very much in-
terested in social work, and I’m convinced
that he never would have lent his name to
any fan club activity if it weren’t for char-
itable purposes.
“As a result of my talk with him, I
started devoting one evening a week to a
Cub Scout den of the East Side Settlement
House, which is all I can sandwich in be-
tween club activities and going to Hunter
College night school. But I hope to do
more for, as Marlon explains, we can all
contribute to helping others — we don’t
need big names or important contacts or
lots of money — just a little sincerity and a
little of our time.
“But to get back to lunch. When we
were through with coffee, I asked Marlon
if he would autograph a photograph I had
brought along.
“ ‘That’s a terrible picture of me,’ he
said laughing.
“But I told him I liked it very much and
he said ‘That’s all that matters.’ He in-
scribed it: ‘Dear Phil, If it weren’t for you
a lot of people would be a lot less happy.
That’s the best I could hope to say about
anybody. With gratitude, Marlon.’ I’m
very proud of that inscription.
“During lunch, Marlon had asked me to
put my own picture in the next journal.
I told him I’d only do that if he would be
in the photograph, too. ‘Sure,’ he said
without hesitation. ‘Too bad we don’t
have a camera with us. We could do it
after lunch.’ With that, up came two cam-
eras, till then hidden underneath the table.
“We left the tearoom— walked over to
the park and took a whole roll of pictures.
Marlon, of course, knew a lot more about
photography than we did so he’d pick out
the spots and help us with the lighting.
We spent the afternoon in the park, walk-
ing and climbing up the rocks. Altogether,
Gertie, Pat and I agreed — it had been a
beautiful afternoon — and it wasn’t just the
weather!”
long-time friend, and just as staunch
a Brando fan, is Stella Adler — who has
known Marlon ever since he first arrived
in New York in 1941, a teenager from
Libertyville, Indiana, and applied at the
Drama Work Shop of the New School.
While Miss Adler won’t credit herself with
foreseeing Marlon’s outstanding career
from the beginning, she can be quoted as
having said, after one week of instructing
him, “This puppy thing will be the best
young actor in the American theatre with-
in a year.
“What people don’t seem to understand
about Marlon,” Miss Adler said one af-
ternoon in her school at 50 Central Park
West, “is that he is an actor. When he
studies a new part, it is an intensely crea-
tive process with him. Louis Calhern once
made the remark that on the set of
‘Desiree’ there was a guy by the name of
Napoleon who thought he was Marlon
Brando. I think that can be said of Mar-
lon whether he plays the poet Marchbanks
in ‘Candida,’ or the ex-pug Terry Malloy in
‘On the Waterfront,’ or Sky Masterson in
‘Guys and Dolls.’
“Marlon’s an actor twenty-four hours
a day. I've heard it said that anyone as
intense as that must be a schizophrenic, a
split personality seeking escape from his
own identity by assuming another on the
stage. I’m no psychiatrist, but to me that
doesn’t make much sense. I believe that
most people who have a talent, a voca-
tion in life and who do a job superbly
well, don’t just work on it for eight hours
a day, but carry their work with them
wherever they go. With Marlon, every-
thing he sees or does, every person he
talks to, every contact is grist for his mill.
After watching a person for two minutes,
Marlon can imitate him precisely. He
constantly observes. He constantly stud-
ies. This isn’t necessarily a conscious act,
for the truth is, Marlon isn’t very good at
any methodical studying. He’s like a
sponge — he seems to absorb information
and knowledge through his pores. I’ve
known Marlon for a long time now, and
he’s never impressed me as being anything
but a perfectly normal, highly talented
young man.
“And I emphatically won’t go along with
people who say Marlon is eccentric. He’s
high-spirited and full of fun — perhaps a
little reckless at times, true — but he’s al-
ways been very young and I don’t particu-
larly see where this makes him so different
from millions of other American boys. He’ll
go off on a kick — from playing the bongos
to boxing, fencing, interpretive dance and
riding a motorcycle. When he was on his
motorcycle kick I was worried about him
because I was afraid he might get hurt,
but this is, after all, his own business.
After he learned all about motorcycles,
he outgrew them. Besides, he needs an
outlet for his energy. Marlon can never
sit still for any length of time, he’s so full
of energy, a kind of nervous vitality. But
one thing is true, he’ll take a chance or a
risk only when he alone is involved. I’ve
never seen him — or heard of him — doing
anything that might harm someone else.
He’s always very considerate of others and
he’ll go out of his way to do a friend a
favor.
“Once he went forty miles — ’way out to
Long Island — to surprise me. It was dur-
ing his motorcycle period, and I’d casually
mentioned a special kind of pastry I liked
which only seemed to be available at one
bakery on the south shore of Long Island.
The next time Marlon came up to the
house he brought some of that pastry with
him. He’d gone all the way down there
and back just for a dollar and a half pur-
chase.
“Contrary to legend, Marlon is always
dressed very neatly when he comes visit-
ing. He’ll wear a T-shirt and a baggy
pair of pants when he goes to rehearsals
— but then so does everybody else. Also,
I’ve never known him to be anything but
well-spoken, well-mannered and well-be-
haved.
“It would be surprising if it were other-
wise in view of his fine family background.
Marlon’s father is a sucessful Illinois busi-
nessman; the Brandos had a comfortable
home and a very pleasant family life. You’d
have to look far before you’d find a nicer
all-around American family. All the Bran-
dos are very creative people with an in-
terest in the arts. Marlon’s mother, who
passed away about a year and a half ago,
was at one time an actress with the com-
munity playhouse of Omaha, Nebraska,
and a very beautiful, girlish creature. His
sister Frances is a painter, and kid sister
Jocelyn, also a talented young actress, best
remembered for her role in the play
‘Mister Roberts.’
“And Marlon always went to good
schools — several of them. I guess Marlon
didn’t get along any too well in school.
At his last one, Shattuck Military Academy
in Minnesota (‘the military asylum,’ he
called it), he was caught in a prank and
asked to resign shortly before graduation,
in 1943. During the following summer he
worked as a tile fitter for a drainage con-
struction company in his home town of
Libertyville, Illinois. For all I know, he
might still be doing that if his father hadn’t
offered to stake him to a professional edu-
cation. Marlon decided on acting and came
to New York that fall to live with his sister
Frances, who was studying at New York’s
Art Students League. (He worked four
days at Best & Company, balked at calling
out ‘lingerie’ and such things and quit.)
“One of the things few people realized
about Marlon is that he’s quite without
drive. Success as such doesn’t mean a thing
to him. He has no desire to outstrip his
competitors. While he appreciates money,
it is certainly no end in itself for him. I
think Marlon would be a failure if he tried
to do anything that doesn’t deeply interest
him — or rather, I don’t think he’d make
the effort.
“With acting it’s different, of course. He
broke through very quickly, and from that
moment on acting got under his skin. His
performances in the drama workshop of
the New School attracted attention from
the very first. It wasn’t difficult for a pro-
fessional to see that he showed a good deal
of promise. For one thing there was his
great physical beauty— not just good looks,
but that rarer thing that can only be called
beauty. And for another, he had a quality
which in the theatre we call ‘visibility.’ It’s
a sparkle — a gift of God — there’s no ex-
planation for it. Without doing anything,
it made him stand out in any group. The
eye would just naturally travel to him
and stay there.
“As a drama student — whatever his
shortcomings may have been in other
schools — Marlon was very easy to get
along with. He was disciplined and serious,
and if he ever did cut up, it never reached
a point where it interfered with our work.
I remember one rehearsal when nothing
seemed to go right and everybody was
becoming irritated and tense. We were
doing a scene from ‘Ghosts,’ by Ibsen,
with Marlon taking the part of the tragic
young hero. When he made his entrance,
he was wearing the most fantastic putty
nose I’ve ever seen. Everybody was in
hysterics for about five minutes, which
relieved the tension, and afterwards the
rehearsal went well.
“In this respect, Marlon is a real ham.
He loves to fool around with make-up,
putty, false noses, beards and wigs. And
he has a wonderful ear for inflections and
accents, along with a natural gift for
mimicry.
“Marlon has no difficulty at all in imitat-
ing all kinds of voices and accents. When
my husband and I ran into him in France
one summer he surprised us by the beau-
tiful French he spoke. He was easing him-
self into the language the way he eases
himself into a part. He sounded like a
Frenchman. He picked up a working
knowledge of Spanish in two weeks. He’ll
never call up the house without disguising
his voice. I confess that after all these
years he still succeeds in fooling me each
time, whether he puts on a British, Mexi-
can, Italian or plain Midwestern accent.
I think that’s a measure of how good he is.
“I remember how surprised critics were
when he spoke with perfect diction as
Mark Antony in ‘Julius Caesar.’ They
failed to realize that he had to learn to talk
like Stanley Kowalski in ‘Streetcar,’ that
he did not normally speak that way. After
all, one of his earliest parts on the profes-
sional stage was Marchbanks, opposite
Katherine Cornell in Shaw’s ‘Candida.’ He
spoke beautifully.
“Perhaps Marlon’s nicest trait is his loy-
alty and devotion to his friends. During
the twelve years I’ve known him he hasn’t
to my knowledge dropped a single one of
them — nor has he lost any. Unfortunately,
that is not always true of others who have
become successful so quickly.
“Another thing which is well-known
about Marlon is his gentleness. In the
mind of the public Marlon’s become iden-
tified with tough parts, implying a degree
of brutality that’s entirely foreign to his
real character. Actually, he’s a real softie
who can’t bear to hurt anyone’s feelings.
“Once I sent him a play written by a
young friend of mine. ‘How did you like
the script?’ I asked him the next time I
happened to see Marlon at a friend’s house.
“ ‘Terrible,’ he blurted out, not realizing
that the author was standing right next to
me.
“Though it had really been my fault for
putting him on the spot, Marlon was in-
consolable. He was remorse-stricken for
weeks over what he considered his un-
forgivable lack of tact.
“I can say, though, that there’s one thing
Marlon can’t do well. That’s lying. Not too
long ago, he came up to the house with a
beautiful shiner around his left eye. When
I asked him about it, he was ashamed to
admit the reason and concocted some cock
and bull story instead. I didn’t believe him
for one minute and he knew it. We both
started to laugh. He can never keep a
straight face when he’s lying. Yet he’s
marvelous at telling a story, exaggerating
and embellishing it for dramatic effect. This
is probably where a lot of the Brando
stories circulating around can be traced to,
but Marlon doesn’t consider this lying, it’s
all part of acting, of telling a good story.
“When you’ve known Marlon as long as
I have, you can discern between the two
and know when he’s pulling your leg. But
in the meantime, if you’re trying to puzzle
him out, the important thing to remember
is that you can’t judge him as you would
a businessman, think of him as a Bohe-
mian intellectual or classify him as a
matinee idol. He is none of these — by his
own choice. Marlon is an artist — a great
artist. People may call him a character,
but he’s still in reality just Brando.”
The End
(Editor’s Note: The Marlon Brando
Charity Fan Club works with fans through-
out the world. If you want to know more
about the activities of this club, write to
Miss Philomena Ignelzi at 149-41 45th Ave-
nue, Flushing 55, New York, sending along
a self-addressed stamped envelope.)
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When a Star Finds Heaven
This Gorgeous Book is Really . . .
HOLLYWOOD
IN REVIEW
(Continued from page 65)
“Kee-airk Doo-glah, telefona; Kee-airk
Dooglah, telefona.” Idly, he mused that an
able song writer could do more with it than
could be done with some such sound ef-
fect as “Sh-Boom,” but dropped the mat-
ter there.
Somewhat later a friend joined Kirk at
table, and asked why Kirk had failed to
answer the page. Kirk said nobody had
paged him. “In Italy,” said the friend,
“when you hear ‘Kee-airk Dooglah,’ get
with it. That’s you.”
Not only did he fail to recognize his name
over the loud-speaker, there were times
when he was stranger to the character
whom he observed in the bathroom mirror
getting his teeth brushed each morning.
The interloper was wearing a curly red-
gold beard which was the pride of a local
barber.
The barber had taken charge of Kirk’s
facial hedge when it was as fine and few
as a mouse’s eyelashes. As the weeks went
by, the skilled scissors snipped a bit here,
a bit there, shaping, coaxing, sculpturing.
“I fc>egan to feel like a French poodle.”
Throughout the picture’s shooting schedule,
Kirk had to return — every few days — to
the barber to keep his facial costume in
satisfactory Ulysses trim.
Probably the happiest American east of
Rothschild’s Beverly Hills haircuttery was
Kirk the day he was told that the picture
was finished, there would be no retakes,
and he could find out if he still had a face
under the feathers.
Dropping into the barber chair with a
joyous grin he said, “Off it comes.”
The barber took one step backward in
an eloquent Latin gesture of shock and
managed to shake his head. “No,” he said,
brandishing a pair of razor-sharp scissors.
“You keep. So beautiful. So thick, So
curly.” His hands shaped a beard in the
air. “Boys have faces like girls. Men have
beards.”
It’s better than ever! It contains more news
and pictures about all the stars of Hollywood
than ever before. Yes, the exciting, new 1955
edition of Photopay Annual is sensational.
It’s a treasure-mine of information about the
stars ... a real Who’s Who in Hollywood.
This colorful and glamorous Hollywood year-
book is THE book-of-the-year. Get your copy
of this prize book before they are all snatched
up. Here is what you get in this great year-
book:
NEWS EVENTS OF THE YEAR— 20 exciting pages
in pictures and text covering the month-by-
month weddings — separations — divorces —
births — awards — scoops.
DANCERS OF THE YEAR — Action pictures and
biographical sketches of Cyd Charisse —
Vera-Ellen — The Champions — Taina Elg —
Leslie Caron — Mitzi Gaynor.
PERFORMERS OF THE YEAR— Here you get por-
traits as well as action shots from their big
pictures, plus the autographs of Marlon
Brando — June Allyson — Van Johnson — Judy
Garland — Robert Mitchum — Gary Cooper —
Burt Lancaster — Ava Gardner.
ALL-TIME FAVORITES— Beautiful pictures, plus
thumb-nail sketches of Alan Ladd — Susan
Hayward — Dean Martin — Jerry Lewis —
Jeanne Crain — William Holden — Eleanor
Parker — Clark Gable — Betty Grable — Victor
Mature — Virginia Mayo — Robert Taylor —
Barbara Stanwyck — Richard Widmark — John
Wayne.
The discussion continued with Kirk beg-
ging for a shave and the barber begging
for the life of his masterpiece. “Let’s put it
this way,” Kirk said finally. “If you won’t
shave me, I’m going to someone who will.”
That was the haymaker. The barber
asked for a picture of Kirk wearing the
beard, then set to work to destroy what
he considered an obvious work of art.
The original Ulysses loaded his ship with
odds and ends of merchandise picked up
from the shores he touched, including now
and then a slave maiden. His Douglas coun-
| terpart did okay with the exception of the
slave maiden; in that case he secured a
stunningly better break. We’ll get back to
that later.
Not one to collect tangibles ordinarily,
, “I’m not a personal possessions guy,” Kirk
broke a rule by having several pairs of al-
: ligator shoes handcrafted for him by Cucci
of Rome. He bought slacks on the island
of Capri, sport shirts in Venice and ash
trays made of Arabic bracelets in Israel.
1 These additions to airplane luggage pre-
: sented no particular problem, but Herr
Douglas fixed himself up just fine in Mu-
nich.
In one of the mesmerizing top shops he
spied an electric train that did everything
t except sing “On the Atchison, Topeka and
Santa Fe.”
Kirk once told an interviewer, “No man
is completely a man who has lost out of
himself all of the boy.”
What happened next proves that Kirk is
completely a man without having lost the
small boy touch. He bought two trains.
Because,” he explained quickly, “I have
two sons. Can’t come home without a pres-
ent for both.”
Also, the trains were impressive bargains.
NAME
Please Print
STREET
PERSONALITIES OF THE YEAR— Stories and
pictures of Robert Wagner — Janet Leigh,
Tony Curtis — Debbie Reynolds — Rock Hud-
son— Marilyn Monroe — Guy Madison — Au-
drey Hepburn — Audie Murphy.
LOVE SCENES — Beautiful full-page scenes of
Mona Freeman and Tab Hunter in ‘'Battle
Cry” — Jean Peters and Rossano Brazzi in
“Three Coins in the Fountain” — Kim Novak
and Fred MacMurray in "Pushover” — Lana
Turner and Carlos Thompson in “Flame and
the Flesh” — Grace Kelly and James Stewart
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Glenn Ford in "Human Desire” — Steve Coch-
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Rock Hudson and Jane Wyman in “Magnifi-
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SONGSTERS OF THE YEAR— Doris Day— Howard
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Kaye — Rosemary Clooney — Frank Sinatra.
PORTRAIT GALLERY — Full-page pictures of Es-
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and Jean Simmons — Ann Blyth — Charlton
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Russell — John Derek.
ASCENDING STARS — These are the names that
are making news. Some have just flashed into
sight — some now shine with an extra radiance
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Purdom — Jack Lemmon — Richard Burton
— Barbara Rush — Susan Cabot — Jeff Richards
— Steve Forrest — Doe Avedon — Audrey Dal-
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Elroy Hirsch — Rhonda Fleming — Pat Crowley
—Ben Cooper— Lori Nelson — Robert Stack —
Julia Adams — Suzan Ball— Marla English.
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This sensational Yearbook sells out prac-
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- MAIL THIS COUPON TODAY — n
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1955. I enclose 50c.
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93
The exchange was to Kirk’s advantage and
he was spared the import duty which adds
heavily to the cost of imported toys when
purchased in the U.S. However, the trains
were so heavy that before he had finished
paying the overweight airplane baggage
charges as he lugged the presents over
the face of Europe, he could have bought
a diesel unit for the Super Chief with the
outlay — “Darned near, anyhow.”
Of course, the intangibles that a man
brings back from two years in faraway
places are the things he keeps forever. Kirk
has a dream sack full of them.
He reached Venice late one afternoon and
was shown to his room in the Gritti Palace
Hotel. Strolling to the casement windows,
he was overwhelmed by the sight of sunset
turning the Grand Canal golden.
Everyone carries away a bit of Rome.
The portion that stuck in Kirk’s memory is
the cobblestone Piazza di Spagna from
which ascend the Spanish Steps. On the
corner still stands the little house in which
John Keats died in 1821, at the age of
twenty-six.
On that corner Kirk would meet Anne
and they would set out to explore the fabu-
lous city. Together they found another
treasure: an Italian love song, “Com’ E
Bella.” Kirk would like to record it some
day, with a French ballad, “Tu Ne Peux
Pas Te Figurer,” (You Can’t Imagine) on
the flip. (Incidentally, have you picked up
a copy of Kirk’s Decca pressing of “Whale
of a Tale,” backed by “The Moon Grew
Brighter?” Good listening.)
What man who has been to Paris has
failed to take away with him something of
“the city that is loved as a woman is
loved?” Not Kirk. He started modestly
then scored a grand slam. He loved Paris;
everything was great — with one exception
. . . He was having a certain amount of
trouble with his guidebook French.
Like the night he sped out of his hotel,
pressed for time, and told the cabby, “Para-
mount Theatre, s’il vous plait.”
“Comment?”
“Paramount. PARAMOUNT. . .
“Comment cela?”
Kirk sprinted back into the hotel, sum-
moned a bellboy and explained his destina-
tion. Said the bellboy to the cabby, “Pah-
Rah-Moont Theatre. Pah-Rah- Mont!”
Dawn burst over Eiffel Tower. The
cabby’s eyes expanded, his eyebrows leapt
upward, and he shrugged as only the Pa-
risian can shrug. “Ah — mais oui— Pah-
Rah-Moont.”
Kirk settled himself in the furthest cor-
ner of the back seat and revised, with some
frustration, the remnants of his college
course in German — his only attempt until
that moment to master a foreign language.
Phrases bubbled to the surface of recol-
lection, things like “Ich liebe Dich,” “Du
bist ein schones Madchen” and other airy
persiflage. “I’ll never use it,” Herr Doug-
las told himself glumly.
The only certain thing in life is its un-
certainty.
She came on the set for “Act of Love”
one day. She was wearing a bright red coat
— unusual for the black-loving Parisienne
— and Kirk wanted to know who she was.
He was told that her name was Anne Buy-
dens (pronounced approximately Bwe-
daw), that she had been born in Germany.
She spoke four languages fluently; French,
German, Italian and English.
Madame Buydens and Kirk finally met
through their mutual friend, Anatole Lit-
vak, who knew Kirk was in need of some-
one to steer him through French and allied
hazards and to serve as press-relations ex-
pert.
Kirk explained to Madame Buydens that
p she had been mentioned glowingly by sev-
eral persons, Tola Litvak among them, and
that it would be deliverance if someone
who knew her way around both the mo-
tion-picture industry and the continent of
Europe would come to his aid.
Madame Buydens said thank you very
much, but she had never done that type of
work, so she could not consider herself the
proper person to undertake the assign-
ment.
Could he take her to dinner that eve-
ning and discuss the problem? Kirk ven-
tured.
Madame Buydens thanked Mr. Douglas
pleasantly, but she had a dinner engage-
ment.
Well, then, could he drive her home and
discuss it on the way?
That was thoughtful, but she drove her
own car.
Kirk gallantly escorted her to same. At
the time he was driving a Simca, which
is — roughly equal to a Ford. Anne Buydens
was driving a Porsche, a German car
equivalent — roughly — to a Buick.
Trumped again.
The ancient Ulysses lashed himself to the
mast in order to avoid bodily injury while
listening to the siren’s song. His modern
counterpart exhibited no such concern for
life and limb. When, in the course of con-
versations overheard at parties attended by
both Anne and Kirk, he learned that she
was going to Klosters, Switzerland, for the
skiing, he rushed to the resort in advance.
Outfitting himself from cap to boots in
what the upright skier should wear, he took
a few lessons so as to remain that way.
When, a few days later, Anne’s train pulled
into the Klosters station, there stood the
American skier, Kirk Douglas, ready for
the snow job of his career.
Quicker than you could say “slalom,” a
romance developed, and the first thing
Kirk knew, he was wandering through gift
shops, collecting sweaters, purses and
gloves in Anne’s favorite shade of blue.
Back in Paris, she cooked small dinners
in her apartment for Kirk. By that time
Kirk had begun to take a knowing interest
in oils; he fell in love with a Brayer which
hung above the apartment fireplace. It re-
corded a peasant festival, and it was a de-
light to the color-loving eye. Long after-
ward Anne was to say, “I shall never be
entirely sure whether Kirk married me for
myself or in order to become half owner
of the Brayer.”
When Kirk had to visit Brussels, he asked
Anne to guide him, since she had lived
there. She convoyed Kirk through a series
of art galleries and restaurants, two of
which proved to be memorable. Kirk
spotted an oil by Utrillo — the study of a
church and a crowded street under bril-
liant sunlight — which he coveted. (Not
being clairvoyant, he had no idea that this
canvas would one day be his wedding gift
from Anne.)
The restaurant was Le Filet de Boeuf,
situated on the square (La Grande Place)
where it had once been a fine home like
others along the street. Its exterior trim
was gilt so that in the red sunlight of late
OVING ?
/Notify us six weeks before-
hand; otherwise some issues
may miss you. Write to:
Macfadden Publications, Inc., 205 E. 42nd St.,
New York 17, N. Y. Send both old and new ad-
dresses, postal zone number and, if possible, enclose
a mailing label from your last issue of Photoplay.
afternoon Le Filet and its phalanx of neigh-
bors looked like a picture torn from a
child’s storybook. The restaurant’s dining
room contained only six tables, but there
the simplicity ended. The linen, the crystal,
the heavy antique silver, as well as the
china, were treasures, and the dinner
proved to be merely the best Kirk had en-
joyed in Europe. Kirk told Anne so as she
sat opposite him, smiling in the soft candle-
light.
Not long after, he traded candlelight in
Belgium for sunlight in Jamaica, and set
to work in “20,000 Leagues Under the
Sea.”
He was entranced by the island, by the
Round Hill Hotel, by Calypso, by the ex-
plosive shirts, by the frenzied native dances.
He could have done without the native
driving, but even that supplied a small
pivot on which great events turned.
Driving to location one morning, a jet
process through villages which jumped
backward — both man and beast — to make
way for the careening car, the driver was
unable to avoid a fine fat pig. After a shrug
for the departed pedestrian, the driver
would have charged on if Kirk hadn’t in-
tervened. “We’ll have to find out who
owned the pig and pay for it,” he insisted.
The driver thrust out his head and yelled,
“Hey, pig-owner! Pig-owner! Pig-owner!”
No response. After a few more calls the
driver flung out his hand in a gesture of
dismissal. “Boss, this pig ain’t got no own-
er,” he announced and drove on.
Kirk thought about it with a wry grin.
There in the road lay a fugitive wanderer,
having lived his brief, careless life and
having ended in the dust without an owner
to claim him— or to collect his insurance.
Even, mused Kirk, the great Ulysses had
finally come home after twenty years. Per-
haps he wished he had done so earlier. In
any case there came a time when one had
to admit to various ownerships. Possibly
that was one of the great lessons of travel.
So Anne Buydens was invited to Cali-
fornia to see whether she liked the country,
the people, Kirk’s two sons, Mike and
Joel, and Mr. Douglas. A three-ply affirma-
tive vote took her to Las Vegas on May
29, 1954, to become Mrs. Kirk Douglas and
are planning a new addition to the clan.
In other respects Kirk is sinking roots.
Kirk has now gone into business for him-
self, having established Bryna Productions
and made releasing arrangements through
United Artists. The first picture will be
“The Indian Fighter.”
After two years and fifty thousand miles
a man must have absorbed a conviction or
two: Kirk admits to one major conclusion.
“The more you see, the more you realize,
humbly and gratefully, how wonderful it is |
to have been born in the New World, in the
Americas, where opportunity is as real and
sustaining as the air we breathe. I’ve never
forgotten that I’m the kid who sold news-
papers, collected bottles for pocket money,
waited table, drove trucks, earned my way
through college, got a picture break and
wound up in Hollywood. Some of that
flashed through my mind as I stood in line
at the Command Performance reception,
wearing white tie and tails, and awaiting
my turn to be presented to Her Royal
Highness, Queen Elizabeth II.”
The Queen murmured a friendly phrase
to Kirk, something like, “How nice it is to
have you visit us,” and afterward reporters
besieged Kirk to find out what, exactly,
had been the royal words.
Kirk was not going to give up to the I
printed page the moment he, himself, could
not quite believe. “What Her Highness said
is a secret between the two of us,” he
murmured with quiet dignity.
Wonderful world, huh?
The End
( Continued from page 44)
cancelling the show. I just can’t leave Anna
now. (Vic calls Pier by her given name,
which he pronounces Ah-nah). We’re try-
ing to get somebody to substitute for me.
I’ve done it for other people in the past
and I hope they will come to my aid now.”
But even if a temporary replacement
could be found for this one engagement,
Vic, heavyheartedly admitted he could not
remain by his wife’s side very long for he
was booked solid until May. Luckily, Mrs.
Pierangeli and Marisa could be with her.
All filmdom who hoped and prayed with
the grieving young crooner shared in his
joy when doctors reported later the baby
was saved.
A few days before the tragic accident,
Pier drove up from Palm Springs (where
she and her mother had taken a house for
a month while Vic was to be away on tour)
and Pier was delighted as she talked about
the two who are closest to her heart — ■
handsome, curly-haired Vic Damone and
the anticipated baby. Pier, a creature of
moods, was vivacious and charming, bub-
bling with talk and plans and sheer hap-
piness. Not even morning sickness or a
slight automobile accident on the way
dimmed her gaiety. “A little white MG
came right in front of me; I couldn’t see it—
so bang! But the driver is all right and I
am all right; only the cars suffered. It is
nothing.
“What I am thinking about now is
our house. Vic and I drove for days and
days before we were married to look at
houses — we wanted to be so sure — but it
is not perfect. When we decided to marry
so soon after we announced our engage-
ment, everybody said we were so im-
pulsive. Now the marriage is three
What Are Angels Made Of?
months old and it is perfect. But the
hilltop house we spent so much time find-
ing is not. And I thought we were follow-
ing Mama’s advice: ‘Before you do any-
thing, think it over three times.’ ”
The rented house, ultra modern, of glass
and stone, is circular in construction and
perched, like a boat, in a sea of clouds,
high up in a lonely section of Beverly
Glen canyon. It would seem to be a
perfect setting for Pier, who’s one of the
few authentic beauties in the motion-pic-
ture colony. In her charming Italian ac-
cent, Pier talks at times with the touching
wistfulness of a small child; at other times,
with the mature wisdom of a woman. Her
English has improved; no more does she
call a hotdog “a sandwich with the fingers
on top” or speak of “hombuggers and
smashed potatoes” or massacre the bebop
phrases which Debbie Reynolds has pains-
takingly taught her. As she moves around
the room, she has the look of a little
gazelle in motion.
The house occupied Pier’s attention.
“The rooms are on different floors. Now
I cannot walk up steps and steps. Even
our maid — she gets exhausted carrying the
— how you say? — vacuum cleaner up and
down.
“But even worse is the aloneness. No
houses are near. When Vic and I saw it,
we fell in love with it; we thought, How
wonderful it is for two lovers to be hidden
away where no eyes can see. At night
the view from the terrace is divine — the
whole city, a blaze of colored lights like
a lovely necklace. But Vic must be out
singing and rehearsing and recording at
night and I haven’t been feeling too well
so Vic thinks it better for me no longer
to go with him so some nights I stay alone.
Many wives do not mind being alone. But
for me, I have never been alone at night
before. In the windows I see eyes shining,
like tiny electric lights. Bobcats, Vic
jokes. And owls go ‘whooo’ till your heart
feels it will explode! And the thump-
thump-thump I hear — I don’t know what
it is, but Vic says it is just the branches of
trees in the wind.
“When Vic left to go on a recording
session one evening not long ago, I asked
him to lock me in the bedroom.” Pier
shrugs. “Then I started to read. But in the
window are the eyes shining, the thump-
thump, the whoooo sounds. Our darling
little parkakeets suddenly answer and the
sound in the still house is like bullets.
‘Anna,’ I say to myself like a stern father,
‘you are not a child any more. You are
a grown up married lady. You are going
to be a mother.’ But I do not feel at all
grown-up. Just then the phone rings. And
it is like a scene in a mystery movie before
the murder. I jump. It is a friend of Vic’s
coming to return his dinner jacket. When
he arrives, I make him take me to the re-
cording studio way downtown. I sit on a
chair. And I get tired as it is two o’clock,
then three. So I stretch out on the floor
and sleep a little. When it is six o’clock
we go home — Vic and I — and we eat break-
fast and the sun is shining and we are
together and the view is so wonderful
from the terrace that I flip. Debbie Reyn-
olds taught me the word ‘flip.’ It is ex-
pressive, no?
“Then I say to myself, how can I be so
silly and worry Vic so much. But when
the blackness comes and I am alone, then
it is not silly. So — we must find someone to
rent the wonderful honeymoon house. And
move where there are neighbors and no
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As Pier talked it was easy to see that
all this was but a small cloud on her
horizon. Nothing could take from her the
miraculous sense of fulfillment which she
experiences in her approaching mother-
hood. She cannot talk of babies without
feeling “a little tightness in my throat. I
love babies,” Pier tells you, her eyes
shining with warmth, “I’ve loved them
since I was little more than a baby myself
in Rome. Every baby I saw I wanted to
feed and bathe and cuddle in my arms.
‘You will make a good mother,’ Mama
would say. And later, she would laugh
because always when I see a so-beautiful
little baby, fat and laughing in a maga-
zine photograph, I’d cut it out. And I’d
put it under the glass on my bedroom
lamp table.
“I know how to take care of babies.
My little sister Patrizia is six. And when
she was born my mother was not well and
I used to take care of the baby, feeding
her and changing her and being so careful
to hold her head and not to stick the pins
in her fat little bottom. And when she
would cry, I would cry in sympathy.”
When Pier was interned for a month in
the hospital in Palm Springs, surrounded
by the bouquets of flowers and messages
from well-wishers, yet unsure of what was
to happen to her and Vic’s future she
found strength and peace of mind through
prayer. For the young star is, by nature,
deeply religious. A devout Catholic, each
morning before she headed for the studio,
she stopped at her church to attend Mass.
Her goodbye to those she loves is invari-
ably “God bless you.” And when, after
her marriage, a reporter asked her about
children, she said simply, “I want as many
children as the Lord will send me.”
This is not alone the feeling of Pier.
Vic, who comes from a large, happy family,
loves children and believes that babies
cement a marriage. As Pier tells it, acting
out the pantomime, “Our friends think
Vic has lost his mind when they suddenly
see him take a bundle of air and sit it in
a chair while we’re all at dinner. Then
he says, ‘So you won’t eat your spinach,
eh? You want Daddy to feed you? Is
that it? No? You want to feed yourself?
Okay. Look, you’re getting the spinach
all over the rug.’ Then Vic cleans up an
imaginary spot. And he wipes an imagi-
nary face. Or he will turn to me and say,
‘Anna, you will have to teach this bambino
of ours some manners. He’s making mud
pies in the living room. And you know
what? He prefers Eddie Fisher’s records
to mine.’ He is mad, that husband of
mine, really mad.
“But then, I’m mad, too. And maybe
that’s why we’ve had three wonderful,
wonderful months together. Always I write
little notes to Vic. Under the pillow I put
them saying, ‘I love you. Anna.’ Or on a
little bottle of champagne to celebrate a
month of marriage I tie a little note say-
ing, ‘You go to my head.’ Or pinned on the
draperies, a little note. Even in his pocket
he finds them. And once I put one by his
soup plate and it fell in and the ink came
off in the soup! When we were away on
tour sometimes, I’d call him up from the
hotel lobby and say, ‘A telegram for Mr.
Vic Damone. Will you have a date with
me? I will be waiting at the cigarette
counter in the lobby. Signed Anna.’ ”
These shenanigans have made the hours
gay for the youthful pair and have helped
Pier forget the discomforts of pregnancy.
For Pier hasn’t felt entirely well during
her pregnancy. Tired from picture-mak-
ing, from the demands of a large wedding,
furnishing a house and much travel, the
doll-like beauty realizes she needs rest. Her
doctor advised her not to travel with Vic
but to rest. He’s also advised her not to
gain more than eighteen pounds. Since
Pier is five-feet-one and weighs but one
hundred pounds she will continue to look
trim. It’s unthinkable that Pier will ever
need to diet. She doesn’t walk, she swings
along always in a hurry, full of bounce
and vitality.
“Friends,” explains Pier, “are worried
that Vic and I must be apart so much. But
we aren’t worried because we knew this
from the start. I’d like to go with Vic,
but he’ll be doing six shows a day and
I’d be by myself in a hotel room most of
the time. That’s not good for me. It
worries Vic when he has to sing and
knows I’m not well. He’s so sweet, so
kind, and I don’t want to add to the strain
he’s under. As an actress, I know any
performer is filled with butterflies when he
has to go on-stage. Even Tony Martin,
after all these years, admitted to me how
he feels before each performance. In
this life we cannot have everything. This
we know, even though the partings are
hard to take. But Vic cannot stay in
Hollywood all the time; he must move
around the country. He’s going to Aus-
tralia, too. But we hope he’ll be here
soon making a picture. And when I can,
I’ll go with him.”
Even so, Pier maintains she could not
have married anyone but an actor. For
only an actor would understand the de-
mands made on his actress wife. And, in
turn, she understands his life. “I work
hard,” she explains, “and I’m nervous
when I’m working. At times I want to be
alone. It’s the same with Vic. If he
should go off by himself I understand and
I don’t pout, as I might if I were a non-
working wife. As I told Vic, ‘You’re mar-
ried to two people. I belong to you and
to the studio.’
At twenty-two, Pier can’t understand
why she is thought of as a child bride. She
realizes that she looks about fifteen, but
in her heart she knows that she is a
woman. “It’s true,” she says, “that three
years ago when I was making ‘Devil Makes
Three’ with Gene Kelly, during our love
scenes he’d say, ‘Stop looking at the floor,
Anna. Look at me. Don’t you know what
it is to be in love?’ And I’d shake my
head. Three years is a long time in the
life of a girl. Now I know how to express
love. Because I am in love.”
In her pixie way, she’s drawn up a sur-
prising list of ways by which a wife can
maintain a husband’s interest. First off,
she lists a change of moods, an unexpected
quality, to keep a marriage from growing
monotonous. “Who,” she asks reasonably,
while wrinkling her pert little nose, “wants
to eat spaghetti with tomato sauce over
and over? But if you serve the pasta with
clam sauce, with garlic and oil, with but-
ter and cheese, it never grows tiresome.
And when a wife changes her moods she’s
treated differently. Sometimes Vic treats
me like a baby (he even says I’m spoiled,
but I don’t think so) ; other times he treats
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me like the woman I believe myself to be.
“And I try to please him. Now, I like
my hair long, though the brushing and
brushing makes me tired. But when Vic
and I saw Doris Day in a movie with short
hair, Vic said, ‘Why don’t you cut your
hair?’ So, when most American actresses
are giving up the Italian haircut, here is
an Italian who just got one. And I like
it very much for a change.”
And, indeed, Pier’s chestnut-bronze hair,
curled about her face, is most becoming.
The slim black toreador trousers, the
Italian hand-fashioned turtle-neck sweater
she wore made a distinctive costume with
a huge greatcoat of tangerine and an over-
size carryall purse of the same material.
“Maybe,” she smiled impishly, “I am so
interested in the romance of marriage be-
cause in the kitchen, in the apron, I do not
shine. I can cook— spaghetti, lasagna,
chicken cacciatore — but the smell of the
food while I am preparing it takes away
my appetite and I can’t eat. So Vic is
unhappy. But he is a wonderful cook — a
great cook. And he loves to cook beautiful
Italian dinners. Even my mother who is
herself a great cook compliments Vic on
his skill. Vic and I are a little wacky, too,
on how we eat. In the middle of the night
we go to Pepe De Lucia for a big dinner;
at odd hours we simply must have a pizza
from the Villa Capri. And Mama, knowing
how important food is to a husband, trained
our maid in Italian cooking while we were
honeymooning at Las Vegas. But to run
a house right I have a lot to learn. ‘Just
keep out of the way of the maid,’ says
Mama. She knows I haven’t had time to
learn housekeeping.”
What Pier cannot understand is why her
adoring bridegroom often insists on be-
lieving that she is unable to do the smallest
thing. He likes to make jokes about this.
“For instance, when friends ask where
I am, he will answer. ‘Oh, she’s home,
washing down the walls of the kitchen.’
Or ‘She’s busy in the garage giving my
Thunderbird a Simonizing job.’ Pier
looked down at her delicate, slender bal-
lerina fingers and pouted, “I don’t know
what is Simonizing. But I could learn to
do it — if I had to.”
Not as easy, though, is the handling of
finances. Vic, who is a thorough business-
man, is helping to teach Pier the value of
budgeting. Presents for others and clothes
for herself are her downfall. “When I get
money in my pockets — poof! — it’s gone,”
Pier cheerfully admits. “But that’s chang-
ing now. It’s Vic’s money and I’m learn-
ing to be more careful in how I spend it.”
Still clothes and shoes — beautiful spiky
heeled, handmade Italian and French shoes
make her flip. “If your shoes are beauti-
ful,” maintains Pier, “it doesn’t matter
what else you wear. But I don’t think
that designers would agree with me.” Pier
dresses in exquisite taste and has closets of
fabulous clothes from Marie Gromtseff of
Paris, Fontana, and House of Antonelli of
Rome. It’s true that beautiful clothes and
shoes make her happy. But that is only a
secondary happiness. The main ones come
from her husband and the knowledge that
children will bless this marriage.
Both Pier and Vic admit that “September
Song” is their song. They played it in
Germany when they first dated. And they
played it again when they met unex-
pectedly at M-G-M. It’s a strange song
for young lovers, instead is more suited
to those at the twilight of life with its
haunting words: “And these few precious
hours I’ll spend with you.”
Laughing Pier has a solution. “Just take
out the word ‘few’ and the line is just right
for Mr. and Mrs. Vic Damone,” she says.
“No matter what, we know, Vic and I,
that ours will be a long lifetime of precious
moments together.”
The End
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97
Pandemonium Reigned in Paradise
(Continued, from page 61)
were talking about. First, they were in
love, had been since their meeting on
February 9, 1953, when they were in-
cluded in a party attending Harry Bela-
fonte’s opening at the Cocoanut Grove.
Next, they were going to get married. The
problems started at that point.
One of the problems was the nature of
the Hollywood romantic cliche. News,
particularly that concerning dating, love
affairs and their course toward altar or
anvil, is so precious that Hollywood writ-
ers collect around the first discernible
spark like prospectors around a fluttering
Geiger needle. It’s a wonder that most
Hollywood romances get started at all,
considering how impossible it is to mine
for uranium at Sunset and Vine.
Another problem was the heckling of
Hollywood dreamers to whom a long en-
gagement was admission of a low metab-
olism. The proverb of the headlong has al-
ways been: Marry in haste, repent with
lawyer Jerry Giesler.
Finally, nobody seemed to take into
consideration the character of the pros-
pective bridegroom. Jack Bean (and don’t
kid about his name; he’s heard all the
jokes a thousand times) is not the stand-
ard young-man-about-Hollywood. Born
in Minneapolis, he was reared by parents
who instilled the time-honored virtues in
their son, one of which is the simple, un-
questioning belief that a man does not
marry until he is prepared to assume the
responsibility of a household.
Jack’s college career (he had just been
initiated by Alpha Delta Phi) was inter-
rupted by the war; he served fifty-three
months in the Army, lived through the
Battle of the Bulge (to name only one ex-
perience in action), spent a year in Paris
and a year in Vienna with the Army of
Occupation. Returning to civilian life he
earned his Bachelor of Science degree in
1948, following it with a M.S. in 1951 from
USC. He worked for CBS and MCA be-
fore joining with Bob Rose to form Bean
& Rose, Public Relations and Industrial
Promotion, in 1954.
As it is for any new corporation, the go-
ing was rough. Make it “very rough.”
They rented office space on a lease basis,
paid the customary deposits, and set up a
series of appointments. The ink was still
damp on the datebook when a pair of
burly gentlemen arrived to reclaim the
furniture. A good deal of desk pounding
was going on when explanation arrived
in the form of the building owner.
Jack and Bob had not been dealing, as
they thought, with this gentleman, but
with a sublessee who had failed to ex-
plain this simple fact before taking their
money. The sublease had expired, the
furniture payments had lapsed ... so
Bean and Rose transferred their business
conferences to Booth 9, Beverly Hills
Brown Derby.
Many of their clients and prospective
clients were domiciled in the Midwest, so
Bob Rose decided to invest some of the
company’s capital in a sales trip; in con-
ference, Jack and Bob decided that Bob
was the logical member of the firm to
make the trip. He and the worst floods in
years hit the Mississippi and Missouri
basins simultaneously. Office after office
was closed because staffers were unable
to get to work; where offices were open
they were manned by skeleton crews ex-
changing flood experience talk. Bob heard
more versions of the “We’re interested,
but not right now” postponement than you
could stuff in Pandora’s box.
Meanwhile, back in Los Angeles, Jack
was being put on the matrimonial spot
every time he and Mitzi stopped at a
drive-in for a hamburger. There was al-
ways someone to loom out of the darkness
to ask if a wedding date had been set.
Offhand, no marriage counselor would
suggest this sort of thing as seasoning for
a bride, yet it worked out that way. Mitzi
was learning. There were times when
Jack would keep a date, giving every out-
ward appearance of being composed and
in normal good spirits, but would with-
draw into some secret conference room as
he and Mitzi drove along. At first she tried
to question him, or to kid him out of his
mood; a time or two she also tried silence.
Nothing worked.
It took months for Mitzi to learn what a
successful Mrs. Bean must know: Jack
could not be cajoled, motivated or hurried.
In his own good time he would begin to
discuss his problem, but until that moment
had arrived no outside influence could
elicit his confidence.
There were other adjustments: Mitzi
smokes; Jack doesn’t. Like all smokers,
Mitzi will roam from room to room, de-
positing ashes in four to forty different
ash trays. Like all non-smokers, Jack has
the orderly inclination to empty the ash
trays as rapidly as they have been used.
Whether Jack was at Mitzi’s apartment, or
Mitzi and a group of their friends were
spending an evening with Jack, Mr. Bean
made his appointed rounds.
Many a pair of newlyweds have had
their first spat over exactly such a minor
personality difference, but Mitzi and Jack
had learned to take for granted one an-
other’s behavior in this matter while they f
were still restrained by conventional cour-
tesy. There is much to be said for getting
accustomed to a foible before one feels he <
has a right to comment frankly on it.
Psychologists know now that one of the I
major matrimonial adjustments is necessi-
tated by individual differences in peak
hours of well-being. One person hits the
deck at dawn and feels great. Another gets
up reluctantly, doesn’t begin to live until
mid-afternoon.
One of the first things Jack admired
about Mitzi was that she was “a tremen-
dous date, full of zest and vitality.” He had
never seen her in pictures or on the stage,
so his attitude upon meeting her was ex-
actly that which he had brought to dates
with hundreds of other girls. Inclined to
be quiet, Jack delighted in Mitzi’s effer-
vescence.
He was even more impressed with her
the first time he called for her on a Sun-
day morning. At the time, Mitzi was liv-
ing with her mother, had already prepared
coffee “and was under full steam. She
might have been shot out of a cannon.
This seemed remarkable to me, because I
don’t fight my way out of the feathers un-
til noon.”
One of the most beautiful songs ever
written is “Getting to Know You,” from
“The King and I.” During the eighteen
months of their courtship, Mitzi and Jack
lived the lyrics “getting to feel free and
easy when I am with you” and finding that
“you are precisely my cup of tea.”
At this point two lovely things hap-
pened: the firm of Bean & Rose signed
several highly satisfactory contracts and
Mitzi completed one of the best roles of
her career to date in “There’s No Business
Like Show Business,” at 20th Century-
Fox. The studio asked its singing-dancing-
acting star to make a series of personal
appearances in conjunction with eastern
openings of the picture.
“The hand of Fate,” said Mitzi, who is
not superstitious — just Hungarian.
“I’m not going to let you out of my sight
for six weeks in the midst of New York’s
winter when the wolf season is at its
height,” said Jack, who is not jealous —
just practical.
At this point we’ll have to peel back the
calendar several years to the time when
Mitzi was singing and dancing in the stage
production “Jollyanna.” While the com-
pany was in San Francisco, Mitzi was
given a copy of “Alice in Wonderland,” by
Mr. and Mrs. W. H. French, who acknowl-
edged themselves to be Gaynor fans.
Mitzi was so impressed by the unusual
nature of such a fan gift that she wrote a
warm note of thanks, which led to a meet-
ing between Mitzi and her admirers. Mitzi
fell in love with them. They were urbane,
mature people old enough to be her par-
ents, even though they suggested almost
at once that Mitzi call them Bill and Clara.
Bill and Clara joined Mitzi’s fan club in
order to keep in close touch with her
every career move and, whenever the
Frenches were in Los Angeles or Mitzi
was in San Francisco, Bill and Clara, Mitzi
and her beau of the moment got together
for dinner. Inevitably San Francisco be-
came Baghdad by the Bay to Mitzi, a ro-
mantic and fabulous city transporting de-
light and adventure on its many winds.
Also, inevitably, Jack Bean met Bill and
Clara and was given the French seal of
approval.
“When you two decide to get married,
let us know,” they said. “We want the
ceremony performed in our living room.”
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Overwhelmed, Mitzi thanked them but
explained that time, distance, confusion,
families, studio policies and so forth would
prove to be terrifying troublemakers. “I
wouldn’t think of causing you so much
difficulty.”
Yet, when a wedding seemed possible,
Mitzi and Jack talked it over and con-
cluded that for true romance, for loving-
kindness and for a wedding unmarred by
those undercurrents of antagonism that
create problems for the famed, there was
but one perfect place: Bill and Clara
French’s San Francisco living room. Mitzi
telephoned to the effect that it was time to
kill the fatted calla lily and set the date as
November 18, 1954.
Yvonne Ruby and Bob Rose were asked
to serve as witnesses, a few additional
close friends and relatives went along and
the traditions were observed. As “some-
thing old,” Mitzi carried the rose point
lace handkerchief carried by the mother
of Mrs. French on her wedding day; as
“something new,” Mitzi wore handmade
lingerie; for “something borrowed,” she
cajoled 20th Century-Fox into loaning her
the pale blue woolen suit adorned with a
pale blue fox cape-collar and the match-
ing blue horsehair hat that Mitzi had
worn in “Show Business”; for “something
blue,” she wore the traditional blue garter.
For luck she wore a penny in her shoe.
Standing before the flower-banked fire-
place at 12:35 — just past noon as the min-
ute hand of the clock started its lucky up-
ward sweep — Mitzi and Jack exchanged
vows and Jack placed the engraved gold
band on Mitzi’s finger.
At this point the bride uttered a small
gasp and murmured in a mildly stricken
voice, “But there’s another ring. There’s
one for Jack, too.”
The magistrate paused. He considered.
“A double ring service, hmmm? Well,
we’ll have to start again at the beginning.”
This incident crowned Mitzi’s nuptials
with the happy status of the unique in
Hollywood. Mercurial as matrimonial hab-
its are supposed to be in the film colony,
Mitzi is the first bride ever to take a sec-
ond husband within thirty seconds of hav-
ing acquired the first, simultaneously sat-
isfying those who maintain that the only
truly happy marriages are the original
matings and those who insist that second
marriages offer the best chance of con-
tentment.
A champagne breakfast was celebrated
at the Garden Court of the Palace Hotel,
and that evening Mr. and Mrs. Jack Bean
emplaned at 9:30 for New York. Observed
Mitzi, “When we reach New York, every-
one is going to say that — as newlyweds — -
we came out of the clouds and down to
earth in record time.”
Come out of the clouds they did: the
clouds dumping tons of water onto New
York. Mitzi, in her honeymoon suit, was
drenched before she could rush from
plane to terminal, and during the ensuing
week she was to ruin two more of her
shining new honeymoon outfits. “It’s
lucky,” she insisted valiantly.
The Beans checked in at The Plaza, a
sentimental journey because Mitzi — dur-
ing her early eastern dancing days — used
to yearn over the plush hotel as young-
sters will and promise herself that some-
day, someday, she would be one of the
perfumed and befurred golden girls who
swept along the Plaza’s resplendent corri-
dors.
Before the Beans had ordered ice water,
the calls began to come in; flowers and
telegrams began to arrive every few mo-
ments. It was altogether fabulous. To-
gether Jack and Mitzi read the messages.
Among them was a communique from Los
Angeles explaining that a minor problem
had arisen. The house they thought they
had leased, having given a check for the
first and last months’ rent, had been taken
off the market. The owner had decided not
to lease.
“Oh well — I can always move into your
apartment, or you can move into mine,”
Mitzi said. “Lucky that we planned to
leave our belongings in our apartments
until we could get home and supervise the
moving ourselves — think what a mess if
our stuff had been sent to that house. . .
Jack agreed that a little thing like no
future housing should not be allowed to
cloud a honeymoon.
The following morning they received a
call from Los Angeles. Bob Rose had a
scoop for them: Mitzi’s landlady had rent-
ed her apartment. A very desirable tenant
had come along and the landlady was
afraid that if she waited until Mitzi re-
turned the tenant would have gone else-
where.
“It’s okay,” said Mitzi. “I’ll move into
Jack’s apartment.”
Later that day Jack asked dreamily,
“Mitz, how many pairs of shoes do you
own?”
“Not as many as I did when I left home,”
said Mitzi, referring to the evening slip-
pers ruined by the New York rain. Both
she and Jack knew that her answer was a
diversion and that eventually Mitzi’s foot-
wear would be stacked like cordwood in
the living room of Jack’s apartment unless
their west-coast living arrangements could
be improved.
“Oh well, I can always carry my ward-
robe in a carryall bag in my car, I sup-
pose,” said Jack.
The following morning there came an-
other call from Los Angeles. Jack’s part-
ner wanted to know the name of Jack’s
automobile insurance carrier. “Nothing
serious,” he said. Just a little wreck — car
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would be in the repair shop for a week,
maybe ten days. Nothing to worry about.
“There went my wardrobe closet,” said
Jack.
The fourth day both honeymooners
winced when the telephone rang in un-
mistakably long-distance tones. “Nothing
more can happen,” reasoned Mitzi.
“One thing,” corrected Jack. “A perfect-
ly dandy tenant could have come along to
rent my apartment.”
This was Mitzi’s first indication that her
spouse was psychic, and she could have
gone on indefinitely without the revela-
tion. What could be done with Jack’s pos-
sessions? They might be stored in the
basement until he returned. Too bad he
wasn’t there, on the spot, because — said
the caller — there was a two-bedroom
apartment available. “I’ll take it,” said
Jack. “Just dump everything in there for
the time being, and perhaps you could
make arrangements to have Miss Gay-
nor’s, I mean Mrs. Bean’s things moved,
too.”
This happened, appropriately enough,
the day before Thanksgiving, providing
ample cause for celebration. For years
Jack had heard glowing stories about
Stonehenge Inn, Connecticut, so it was
there that he and Mitzi had their first
married Thanksgiving dinner.
Another memorable event took place in
New York upon their return. Ethel Mer-
man, whom Mitzi had met and grown to
love during the shooting schedule of
“Show Business,” gave a stupendous party,
honoring Mitzi and Jack, at the Stork
Club, and Mitzi realized the secret thrill
of every girl on earth: She danced with
the Duke of Windsor.
From New York the Beans went to De-
troit, then to Minneapolis where they vis-
ited with Jack’s family and on to Denver
where they spent four wonderful days
with Ethel Merman and her husband, Bob
Six, on Six Acres (which, they like to
point out, consists only of 5.7 acres).
Dropping down into Los Angeles two
days before Christmas proved to be some-
what overwhelming. The clarion sunlight
and shining green trees after the storms
and barren trees of the East seemed un-
real.
“I feel as if I should be hearing the
orchestra starting the overture to some
fabulous production in which I am play-
ing Sleeping Beauty in the South Seas,”
Mitzi admitted, a little dazedly.
The daze was increased when Mitzi and
Jack were ushered into their new apart-
ment. Pictures were in place and lamps
were connected. There was salt in the salt
cellar and sugar in the bowl, as well as
cream in the refrigerator. Mitzi and Jack’s
friends had moved the Beans, record col-
lection to Scotch Tape.
“Of course, it was impossible to get into
any of the closets,” Mitzi remembers. She
gave away thirty pairs of shoes (Jack had
long since learned that his wife’s pet ex-
travagance was footwear), two dozen
sweaters and eighteen dresses. Jack still
insists that he stripped down his own
wardrobe to the point where the only so-
cial function he could have attended was a
costume party, and he would have had to
appear there as Gunga Din.
The following morning the Beans rolled
out before the smog had descended and
drove to Beverly Drive in Beverly Hills,
armed with lists. The date was December
24 and neither had purchased a single
Christmas gift. Jack took one set of names
and Mitzi took another and for several
hours they passed one another with time
only to exchange a nod.
While Mitzi and Jack had been in New
York, Mitzi had admired a festoon neck-
lace in the window of Bergdorf Goodman.
Repeatedly Jack had tried to slip away
long enough to buy the costume jewelry,
but it had been impossible. He had
thought of writing, wiring, or — as time ran
out — telephoning, but gave up in belief
that the necklace must have been sold.
While wandering around Beverly Hills
that morning, Jack spotted a duplicate of
the necklace in a velvet window and
promptly bought it. He encountered Mitzi
twenty minutes later and his triumphant
expression inspired the little wife to de-
mand, “Have you finished already? Where
are all your packages? What’s with you,
anyhow?”
“Merry Christmas, Mitz. See you later
when you’ve accomplished a little more.
Personally, I’m doing fine. Holly, anyone?
Mistletoe? Christmas trees?”
As it turned out Mitzi managed her own
shopping very well, to wit: cuff links, a
cashmere sport coat, matching sox, several
books, etc., etc.
As 1955 arrived, good fortune caught up
with the Beans, making up for that Awful
Week. Mitzi signed to star in “You’re the
Top,” at Paramount, and Jack’s company
added a brace of smart new clients.
Of course the honeymoon adjustments
continued: Jack learned that Mitzi’s idea
of the perfect remembrance was an arm-
load of violets. Mitzi learned that Jack
loved wine cookery, a result of his years
in Europe. She also learned to live with
what Jack labels “The Bean Filing Sys-
tem.” Each evening he unloads his pockets
when he changes into leisure clothing. The
next morning he returns to his pockets
only those things he really needs for that
day. The rest remains on the corner of his
dresser.
“If that stuff should fall on anyone, it
would crush the victim,” volunteered
Mitzi, studying the mounting monument.
While attempting to straighten some of
the stacks, she came across a vividly col-
ored folder describing Geneva and wanted
to know what that was all about.
Jack said he had picked up that folder
and a second similar one at a local travel
agency; one described Geneva “the loveli-
est city in the world” and the other de-
scribed Salzburg. “Two of the dozens of
places in the world I want to take you,
Mitz,” he explained.
“Guess I’ll start my own filing system
with these,” she murmured. “They’re
worth keeping.” For several moments she
pawed through drawers trying to find a
place in which to store them, gave it up,
stacked the folders on the corner of her
dresser. “The Gaynor Filing System,” she
said, grinning.
The adjustments continue between Hol-
lywood’s happiest honeymooners, and un-
doubtedly will go on for the next fifty
years or so. We’ll keep you posted.
The End
GOING TO THE BEACH— DON'T FORGET YOUR COPY OF PHOTOPLAY
• Read about the bright new "East of Eden" stars — James Dean and Dick Davalos
• See, in color, Marilyn Monroe in the much-talked-about film, "Seven Year Itch"
• Learn the secrets of the stars who tell all about their figure foibles
THE JULY ISSUE WILL BE ON YOUR FAVORITE NEWSSTAND ON JUNE 7TH
No Longer Lost
(Continued from page 51)
went all over the state on Bond drives.
Daddy and Mommy said she mustn’t
let any of this go to her head. It was just
her good luck and nothing to be conceited
about. And she wasn’t. She was terribly,
terribly grateful, but what she was really
grateful about (though she wouldn’t have
told a soul) was that her being on radio
and the Victory girl and all that, did make
the boys and girls like her better.
Which was really her real ambition — to
have everyone love her and eventually be
loved by one special boy. Then she’d love
and marry and live happily ever after with
him and their children — five, she thought.
If only Daddy hadn’t had that three-
week vacation in the summer and they
hadn’t come to Hollywood to sight-see and
she hadn’t gone on Hollywood Showcase
and sung an aria from “Carmen” and met
Janet Gaynor.
Miss Gaynor was the star of Hollywood
Showcase and just darling and little. Suz-
anne had met her first talent scout because
of Miss Gaynor’s help, which had led to
the Chase and Sanborn show, and then
“Song of the Open Road” and “Delight-
fully Dangerous,” the two pictures in
which she’d been known as Gaye Stephan.
All that had been fine, because it still was
something she could work in during vaca-
tion time and didn’t have to leave Portland
permanently for.
But now all this — a new name, a con-
tract with M-G-M! — all this meant the
end of Portland, the end of all her friend-
ships. . . .
Suzanne wheeled her bike along until
she got back to her own street again. Then
she climbed up on it once more and ped-
aled furiously up to her house. Daddy was
standing on the steps, watching for her.
“Go all right, honey?”
“Just wonderful, Daddy, just perfect.”
“Honey, the studio called while you
were out. You’re to come in tomorrow for
! pre-recordings on ‘Holiday in Mexico.’
That’s all right by you, isn’t it?”
“Why wouldn’t it be?”
“I mean, honey, if you’re not quite hap-
py, I bet we could still get out of this —
go home.”
She persuaded her father she was happy.
Five and a half years later, Suzanne-
turned- Jane was to remember that mo-
ment with poignance. Five years later, as
the very newly wed Mrs. Geary Steffen,
t with five wonderful musical comedies made
i and released, she received from her father
I the fantastic news that her mother wanted
a divorce.
Her world seemed to rock out of con-
trol at that moment. She loved both her
parents, but she had to admit that the bond
between her and her father was stronger.
!; He had always been her friend, her cham-
pion. He’d never once argued with her —
; except when she told him she was going to
marry Geary Steffen. He hadn’t come out
i and said so in so many words, but he had
implied she was making a mistake, mar-
Jrying a boy who didn’t know what he
wanted to do with his life.
She lost her temper then. Her temper
was fiery, always had been, but she’d
seldom ever felt a flash of anger against
her father. This time she had. She pointed
out that Geary had only recently got out
of service. She pointed out that he had
been a sufficiently expert skater before the
war to be in Sonja Henie’s company on
tour, but that he didn’t want to go on with
skating. She told her father that Geary had
many plans, and that they had delayed
marrying for several months until he did
find some special work, which at the mo-
ment was serving as an insurance agent.
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But now, here was her father in trouble,
turning to her for advice and for com-
fort, as she had turned to him when she
was a little girl.
“I’ll give your mother her freedom,” he
said, “since that’s what she wants. But
I’m all mixed up, honey. Maybe folks never
do know just when things in marriage
start going wrong.”
She had turned quickly as he said that,
so that he couldn’t see her face. It was like
the moment with the bicycle all over again.
She was pretending. She was pretending
because she, too, was mixed up. She’d been
married less than a year, but already she
felt something was not quite right.
She kept remembering what Mr. Pas-
ternak, her producer, had said to her when
she told him about her marriage plans.
“You’re the youngest twenty-one I ever
knew, Jane,” he had said. “For all you
really know about life you could be ten.”
Yet only a short time later when her
mother left California and she’d found an
apartment for her father, out in the Val-
ley because he loved the country so much,
she forgot all her vague fears. She forgot
them in discovering a much bigger hap-
piness: She was going to have her first
child.
Now began the really blissful days for
her. Just as in her little girlhood, Jane
skimmed lightly through her singing, danc-
ing and acting, she concentrated all on this
complete symbol of love about to come
into her life.
So what if Geary barely noticed the
subtle, well-balanced meals she prepared
with such loving care? It didn’t matter.
Steak and potatoes was his idea of a really
great dinner. Coffee and orange juice was
a fine breakfast. To Jane, even if she did
have to watch her diet like mad, because
of being so tiny, food was still one of the
major joys of life. But now she went along
with Geary on his steak eating.
The baby was what counted. For her
son’s sake (for of course her first-born
would be a son) she moved, out of that
first, small honeymoon apartment she and
Geary had. They had chosen it because
they could share and share alike in it —
each paying half the rent, half the utili-
ties. Her income would have permitted
them to live more lavishly, but then it
would be over Geary’s depth financially.
Now they bought an Early American
house, such a quaint and pretty place, all
spinning wheels and washhand stands
changed into jardinieres and the like. Jane
brought her son back there from the hos-
pital at the end of July, 1951. Geary An-
thony Steffen III, called GA for short.
“Oh, darling,” she said to Geary, “I want
our children to grow up in a home brim-
ming with love, joy and security.”
“I do, too,” Geary told her. “And you
know what? I’m going into the real-estate
business. I think there’s more security
there, more future than in insurance.”
It was only a month later that she was
offered a series of night-club dates in
Florida, New York and points east. It was
tremendous money, but it meant being
away from her husband and her son.
“Shall I take it?” she asked Geary.
“You’re the boss of your career,” he
said. “I’m just boss of our household.”
“But who will look after you and the
baby if I go?”
“Look, we’ve got the best baby’s nurse
in California. As for me, I can bunk down
anywhere. You know that.”
She did know that. He didn’t notice the
small “touches” of comfort about their
house, any more than he noticed the small
“touches” of taste in her meals. It was
p nothing against Geary, naturally, any more
than her inability to do the sports he did
so expertly. He loved to ski, swim and
golf. Except for swimming, she wasn’t any
i. uz
good at any of them, try hard as she would.
“Maybe if I appear in night clubs, the
studio will get over the idea I’m just a
kid,” she said.
Geary grinned at her, his wonderfully
winning grin. “Don’t tell me your mind’s
not made up already?” he asked.
One month later, when GA was just
eight weeks old, she flew to Miami and
opened at Copa City. She wore the most
abbreviated costumes she’d ever appeared
in, she sang jazz as well as opera and she
was a smash. But her loneliness nearly
tore her apart.
It didn’t help to phone Geary every
morning and night, to hear GA coo over
the wire. At the end of the fourth day,
she said, “I’ve got to quit. I’ve got to come
home.”
“Don’t think of it,” Geary said. “We’ll
come to you. We’ll be there tomorrow.”
This was the kind of decision for which
she adored him. And she appreciated his
leaving his work just for her, playing a
kind of father-nursemaid just for her.
New York, Miami, the big Eastern cities
with their sophistication changed her. She
came back to Hollywood with her hair a
much lighter shade, with the Peter Pan
collars off her dresses and the little girl
effects she’d always gone in for complete-
ly eliminated. She was twenty-three, a
wife and mother. A young matron. She
wanted to be treated like a young matron.
She wasn’t. Not by the studio. Not even
by Geary. The studio put her in “Small
Town Girl,” which to her was a letdown
after playing with Fred Astaire in “Royal
Wedding.” Of course, it had been an acci-
dent that she did “Royal Wedding.” Orig-
inally it had been intended for Judy Gar-
land, only Judy got pregnant. Then it was
assigned to June Allyson, only June got
pregnant, too.
Well, they all three of them had their
babies, but from Jane’s point of view,
Judy and June had advanced — in every
way. Personally, professionally, socially.
Only she and Geary seemed to be doing
high-school stuff, skiing, swimming, having
parties where everybody played games.
Things didn’t seem right. She puzzled over
why but never could arrive at an answer.
A kind of welcomed answer came when,
with the coming of spring, she discovered
she was going to have her second baby.
Suzanne Ileen, they named her. Suzanne
to remind Jane of herself who used to be,
Ileen for her grandmother, Eileen. She was
an adorable baby, looking like both Jane
and Geary, yet she brought a small shadow
of trouble with her.
Just a tiny shadow, yet there it was.
Jane, a Protestant, had agreed when she
and Geary, a Catholic, were married that
the children would be brought up in his
religion. Actually Jane hadn’t thought a
great deal about it. Like many another
of us, she sincerely believed in religious
freedom.
Yet now, with the second baby in the
house, the difference in the expression of
their religions became manifest between
the Steffens. They didn’t exactly quarrel
over it, any more than they quarreled over
food, or sports or house furnishings. They
just avoided mentioning these conflicts.
And presently, they seemed to be avoiding
mentioning many things. In fact, one day
Jane shockingly concluded they had very
little to say to one another about anything.
Soon after, she was sent on her first
loan-out. The studio was Warners. The
film was “Three Sailors and a Girl.” The
leading man was Gene Nelson.
It was quite natural that she should go
to lunch with Gene in the middle of each
day’s shooting of the film. It couldn’t have
been more innocent. Gene told her about
his career on the New York stage. She
told him about her career in Portland.
Gene told her about how restless he was
at Warners. He felt he wasn’t getting any-
where. Jane told him about herself at
M-G-M and was amazed, for she too felt
she wasn’t getting the right roles. Then one
day, during lunch, Gene admitted that
things weren’t all bliss at home. Jane held
her breath. She’d never told anyone — in
fact, she’d hardly admitted it to herself —
but she wasn’t happy with the way things
were at her home.
Jane mistook this sharing of mutual
problems as love; Gene was positive theirs
was a lasting love. Gene moved out of his
family homestead; Jane told Geary she
wasn’t happy.
Jane went into court and secured her
divorce. She got custody of her children
and Geary got half the community prop-
erty. But Jane and Gene never married.
Jane moved from the little Early Amer-
ican house to a rather stiff colonial affair
which was too big, but it had wonderful
play space for her babies. She moved
around the rooms of this big, formal house
and she, who hated being alone, was alone
for the first time in her life.
Her dad came over to see her a lot, but
she discovered she didn’t have as many
friends as she had always believed, and
that those she had were not the ones she
had expected to stick.
It was cruel — but it was real — the way
her friends had divided into three groups:
the ones who had dropped her outright;
the ones who told her they disapproved
of her but would see her; and the ones who
never said a word, either of praise or
criticism but who called her constantly,
asking her out, chatting to her, cheering
her without ever making a reference to the
fact that that was exactly what they were
trying to do.
There was a fourth group, too — the
wolves around Hollywood. Jane shrank
from the realization of why they were
calling her. This was not what she wanted.
It was not what she had ever wanted, any
more than she had ever really wanted a
career. It was still so tragically simple
what she wanted — a husband, a home, chil-
dren. Anything else was incidental.
She could get through the days with
study, with work at the studio, though
right then she was between pictures. But
the nights were agony. Lying awake
through them, she listened to the peaceful
breathing of GA and baby Sis, and she
knew that above all, she would fight for
them to have a normal childhood.
For this, at least, she now knew: If she
had gone on to Grant High instead of
coming to Hollywood, she would not have
mistaken love. At Grant High she would
have had scores of flirtations. She would
have had time to grow up, to know a flir-
tation for a flirtation. She wouldn’t have
mistaken it for a great love.
To be adolescent in your teens was the
way things should be. But to be put in an
adult position in your teens, and then to
turn adolescent in your twenties, this
could be nothing but tragedy.
She got up after one sleepless night and
whispered to her reflection in the mirror,
“I’m going to try never to hurt anyone
again in my whole life. Because now I
know what it is to be hurt.”
One night Pat Nerney called her for a
date and she accepted. She had known him
slightly when he was married to Mona
Freeman. She had liked him, even though
he was a very quiet person, because he
reminded her of the businessmen in Port-
land who had sponsored her career as a
little girl. He had the same unassertive
security about him, the same nice authority.
They didn’t go to a night club on that
first date but to a place where the food
was superb. Pat didn’t even ask her what
she wanted to eat. He just ordered it and
it was masterly. He brought her home
early and asked if he might call again.
By the end of the week, they’d had
three dates. By the end of the second week,
he asked her to marry him.
“I’m afraid,” Jane said. “I’m afraid even
to think of happiness.”
They continued to date and she was
soon fascinated with his talk of paintings,
of which she knew nothing, and of books,
of which she knew a little.
She began to talk of her interest in mu-
sic and found he knew as much about it,
in a high-brow sort of way, as she did.
They got to talking about travel. She’d
had a trip to South America. He’s been
most places around the world. Then they
discussed food and wines and children and
how to bring them up— his daughter,
Monie, age not quite six, was very im-
portant to him.
Three nights a week, Pat had to work
at the automobile agency he owned with
his brother. This meant they couldn’t dine
till about 10:30, but Janie loved those
nights, particularly, because then Pat
would be so full of business details, he’d
be unable to change the subject away
from them. And Jane saw that he knew
just what he wanted to do in a business
way. He and his brother were making a
fortune, but with all this, Pat’s aesthetic
interests were never neglected. He was,
she realized with respect and admiration,
an intellectual businessman. He was much
smarter than she was, much stronger. This
she liked, too.
Yet while he again asked her to marry
him, she continued to beg off.
Then came the night when he came to
her house, as they had previously arranged.
It was one of his work nights, so the hour
was close to eleven. As she heard his car
i stop, she put on the hamburgers, a quickie
meal they seldom went in for. They were
to eat that way this evening because Pat
had phoned he wasn’t hungry.
And even as she let him in, she saw
that his face looked drawn. She was wear-
ing a little cotton dress and a big cotton
mitten on one hand, for handling the hot
griddle for the burgers.
“Hurry out into the kitchen,” she said,
kissing him lightly.
“No,” Pat said. “You have to answer me
something first. I’m going to ask you to
marry me once more. Right now. But this
is the last time. Will you marry me, Jane,
or shall I stop coming here?”
Her heart thudded. She looked at his
face, so suddenly stern. He didn’t say
things lightly. This she knew. There were
her children to think about. There was
her career to think about. But there was
nothing to think about, she realized, if she
lost Pat.
She stood on tiptoe and put her arms
around his neck. “I’ll be so honored to be
your wife,” she said.
A year to the day of their first date
they were married in Ojai, California. No
accident that, of course. November 8th,
1954 it was, and they were off to Paris and
1 all Europe on a honeymoon right after.
When they got back, they moved into a
! wonderful modern house. Pat’s quite fab-
ulous collection of modern paintings
looked terrific in it, but that wasn’t their
entire reason for choosing it. Janie wanted
it because it was up to date. It was not a
playhouse, like Early American or Colonial.
It was not flirtatious. It was just plainly
beautiful, practical, livable and a place for
growing children.
And for the first time on-screen, too, her
studio let her appear, in “Seven Brides
for Seven Brothers,” as a mature, intelli-
gent, lively, romantic young woman who
completely adored her husband.
Type-casting in a way — but wonderful.
The End
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CASTS OF CURRENT PICTURES
ANNAPOLIS STORY, AN — A. A. Directed by Don
Siegel: Tony, John Derek; Peggy, Diana Lynn; Jim,
Kevin McCarthy; Willie, Alvy Moore; Dooley, Pat
Conway; Watson, L. Q. Jones; Macklin, John Kirby;
Mrs. Scott, Barbara Brown; Mrs. Lord, Betty Lou
Gerson; Connie, Fran Bennett; Austin, Robert Oster-
loh; Boxing Coach, John Doucette; McClaren, Don
Kennedy; Announcer , Tom Harmon; Prentiss, Don
Haggerty.
•
BIG COMBO , THE — A. A. Directed by Joseph
Lewis: Diamond, Cornel Wilde; Brown, Richard
Conte; McClure, Brian Donlevy; Susan, Jean Wal-
lace; Peterson, Robert Middleton; Fante, Lee Van
Cleef; Mingo, Earl Holliman; Alicia, Helen Walker;
Sam Hill, Jay Adler; Dreyer, John Hoyt; Bettini,
Ted De Corsia; Rita, Helene Stanton; Audubon, Roy
Gordon; Doctor, Whit Bissell; Bennie Smith, Steve
Mitchell; Young Detective, Baynes Barron; Lab
Technician, James McCallion; Photo Technician,
Tony Michaels; Malloy, Brian O’Hara; Nurse, Rita
Gould; Detective, Bruce Sharpe; Hotel Clerk, Michael
Mark; Mr. Jones, Philip Van Zandt; Miss Hartleby,
Donna Drew.
•
CANYON CROSSROADS— U.A. Directed by Al
Werker: Larry Kandall, Richard Basehart; Kather-
ine Rand, Phyllis Kirk; Larson, Stephen Elliott; Dr.
Rand, Russell Collins; Pete Barnwell, Charles Wag-
genheim; Joe Rivers, Richard Hale; Charlie Rivers,
Alan Wells; Mickey Rivers, Tommy Cook; A.E.C.
Clerk, William Pullen.
•
CELL 2455, DEATH ROW — Columbia. Directed by
Fred F. Sears: Whit, William Campbell; Whit, as a
boy, Robert Campbell; Doll, Marian Carr; Jo- Anne,
Kathryn Grant; Warden, Harvey Stephens; Hamil-
ton, Vince Edwards; Seri, Allen Nourse; Hallie,
Diane De Laire; Whit, as a young boy, Bart Bradley;
Skipper Adams, Wayne Taylor; Al, Paul Dubov;
Nugent, Tyler Mac Duff; Monk, Buck Kartalian;
Blanche, Eleanor Audley; Hatcheck Charlie, Thom
Carney; Lawyer, Joe Forte; Judge, Howard Wright;
Superior Guard, Glenn Gordon; Sonny, Jimmy Mur-
phy; Tom, Jerry Mickelsen; Bud, Bruce Sharpe.
•
CULT OF THE COBRA — U-I. Directed by Francis
D. Lyon: Lisa Moya, Faith Domergue; Paul Able,
Richard Long; Tom Markel, Marshall Thompson;
Julia., Kathleen Hughes; Carl Turner, Jack Kelly;
Marian, Myrna Hansen; Rico Nardi, David Janssen;
Pete Norton, William Reynolds; Nick Hommel, James
Dobson; Dam, Leonard Strong; Inspector, Walter
Coy.
•
END OF THE AFFAIR, THE — Columbia. Directed
by Edward Dmytryk: Sarah Miles, Deborah Kerr;
Maurice Bendrix, Van Johnson; Albert Parkis, John
Mills; Henry Miles, Peter Cushing; Smythe, Mich-
ael Goodliffe; Father Crompton, Stephen Murray;
Savage, Charles Goldner; Mrs. Bertram, Nora Swin-
burne; Dr. Collingwood, Frederick Leister.
•
JUMP INTO HELL — Warners. Directed by David
Butler: Capt. Guy Bertrand, Jack Sernas; Capt.
Jean Callaux, Kurt Kasznar; The General, Arnold
Moss; Lt. Heinrich Heldman, Peter Van Eyck; Sgt.
Taite, Marcel Dalio; Lt. Andre Maupin, Norman
Dupont; Maj. Maurice Bonet, Lawrence Dobkin;
Gisele Bonet, Pat Blake; Jacqueline, Irene Mont-
will; Major Riviere, Alberto Morin; Capt. LcRoy,
Maurice Marsac; Capt. Darbley, Louis Mercier.
•
LOOTERS , THE — U-I. Directed by Abner Biber-
man: Jesse Hill, Rory Calhoun; Sheryl Gregory,
Julie Adams; Pete C order, Ray Danton; George
Parkinson, Thomas Gomez; Stan Leppich, Frank
Faylen; Co-pilot, Rod Williams; Major Knowles,
Russ Conway; Stevenson, John Stephenson; Joe, Sr.,
Emory Parnel; Joe, Jr., James Parnel.
•
MAMBO — Paramount. Directed by Robert Rossen:
Giovanna Masetti, Silvana Mangano; Count Enrico
Marisoni, Michael Rennie; Mario Rossi, Vittorio
Gassman; Toni Salerno, Shelley Winters; Katherine
Dunham, Katherine Dunham; Countess Marisoni,
Mary Clare; Masetti, Eduardo Ciannelli; Julie
Robinson, Walter Zappolini.
•
MAN CALLED PETER, A— 20th. Directed by
Henry Koster: Peter Marshall, Richard Todd;
Catherine Marshall, Jean Peters; Miss Fowler, Mar-
jorie Rambeau; Mrs. Findlay, Jill Esmond; Senator
Harvey, Les Tremayne; Mr. Peyton, Robert Burton;
Mrs. Peyton, Gladys Hurlbut; Col. Whiting, Richard
Garrick; Barbara, Gloria Gordon; Peter John Mar-
shall, Billy Chapin; Peter Marshall (ages 7 and 14),
Peter Votrian; Mrs. Whiting, Sally Corner; Senator
Wiley, Voltaire Perkins; Emma, Marietta Canty;
Senator Prescott, Edward Earle; College Girl,. Mimi
Hutson; Grandmother, Agnes Bartholomew; Nancy,
Janet Stewart; Ruby Coleman, Ann Davis; Usher,
Arthur Tovay; Maitre D’, Sam McDaniel; Jane
Whitney, Betty Caulfield; Miss Crilly, Dorothy Neu-
mann; Janitor, Oliver Hartwell; Miss Hopkins, Doris
Lloyd; President, William Forrest; Miss Standish,
Barbara Morrison; Dr. Black, Carlyle Mitchell;
Willie, Amanda Randolph; Peter — Age 5y2, Rick
Kelman; Peter — Age 6l/2, Louis Torres, Jr.
•
PRODIG AL, THE — M-G-M. Directed by Richard
Thorpe: Samarra, Lana Turner; Micah, Edmund
Purdom; Nahreeb, Louis Calhern; Ruth, Audrey
Dalton; Asham, James Mitchell; Rhakim, Neville
Brand; Eli, Walter Hampden; Elissa, Taina Elg;
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Governor, Cecil Kellaway; Barber-Surgeon, Philip
Tonge; Blind Man, David Leonard; Ramadi, Henry
Daniell; Tobiah, Paul Cavanagh; Caleb, Dayton
Lummis; Tahra, Tracey Roberts; Uba, Jarma Lewis;
Merchant, Jay Novello; Carpenter’s Wife, Dorothy
Adams; Carpenter’s Son, Peter De Bear.
•
RAGE AT DAWN — RKO. Directed by Tim Whelan:
James Barlow, Randolph Scott; Frank Reno, Forrest
Tucker; Laura Reno, Mala Powers; Sim Reno, J.
Carrol Naish; Hawkins, Edgar Buchanan; Monk
Claxton, Kenneth Tobey; Lattimore, Howard Petrie;
John Reno, Myron Healey; Noah Uholt, Ralph
Moody; Pete McCartney, Guy Prescott; Lee Harney,
Mike Ragan; Courtright, Phil Chambers.
•
REVENGE OF THE CREATURE— U-I. Directed
by Jack Arnold: Clete Ferguson, John Agar; Helen
Dobson, Lori Nelson; Joe Hayes, John Bromfield;
George Johnson, Robert B. Williams; Lucas, Nestor
Paiva; Foster, Grandon Rhodes; Gibson, Dave Wil-
lock; Captain of Police, Charles Cane.
•
SEVEN ANGRY MEN — A. A. Directed by Charles
Marquis Warren: John Brown, Raymond Massey;
Elisabeth, Debra Paget; Owen, Jeffrey Hunter;
Oliver, Larry Pennell; White, Leo Gordon; Fred-
erick, John Smith; Jason, James Best; John Jr., Den-
nis Weaver; Salmon, Guy Williams; Watson, Tom
Irish; Thompson, James Anderson; Green, James
Edwards; Wilson, John Pickard; Newby, Smoki
Whitfield; Doyle, Jack Lomas; Col. Washington,
Robert Simon; Doctor, Dabbs Greer; Mrs. Brown,
Ann Tyrrell; Col. Lee, Robert Osterloh.
•
SHOTGUN — A. A. Directed by Lesley Selander:
Clay, Sterling Hayden; Abby, Yvonne DeCarlo; Reb,
Zachary Scott; Aletha, Angela Greene; Bentley,
Robert Wilke; Davey, Harry Harvey, Jr.; Fletcher,
Lane Chandler; Thompson, Guy Prescott; Chris,
Ralph Sanford; Peres, John Pickard.
•
TIGHT SPOT — Columbia. Directed by Phil Karlson:
Sherry Conley, Ginger Rogers; Lloyd Hallett, Ed-
ward G. Robinson; Vince Striker, Brian Keith;
Prison Girl, Lucy Marlow; Benjamin Costain, Lome
Greene; Mrs. Willoughby, Katherine Anderson; Mar-
vin Rickies, Allen Nourse; Fred Packer, Peter Leeds;
Mississippi Mac, Doye O’Dell; Clara Moran, Eve
McVeagh; Warden, Helen Wallace; Jim Hornsby,
Frank Gerstle; Miss Masters, Gloria Ann Simpson;
Carlyle, Robert Shield; Amy, Norman Keats.
•
TO PARIS WITH LOVE — Rank. Directed by Rob-
ert Hamer: Colonel Sir Edgar Fraser, Alec Guin-
ness; Lisette Marconnet, Odile Versois; Jon Fraser,
Vernon Gray; Victor de Colville, Jacques Francois;
Sylzna Gilbert, Elina Labourdette; Leon de Colville,
Austin Trevor; Georges Dupres, Claude Romain;
Susanne de Colville, Maureen Davis; Aristide Mar-
connet, Jacques Brunius; Madame Marconnet, Pam-
ela Stirling; Madame Alvares, Mollie Hartley Mil-
burn; Pierre, Michael Anthony; Head Porter, Andre
Mikhelson; Night Porter, Jacques Cey; Night Clerk,
Nicholas Bruce; V endeuse, Toni Frost; Cabaret Act,
Georges Lafaye Company, Claude Collier.
•
UMBERTO D. — Harrison and Davidson. Directed
by Vittorio De Sica: Umberto D., Carlo Battisti;
Maria, Maria Pia Casilio; Landlady, Lina Gennari.
•
WAYWARD WIFE, THE — I.F.E. Directed by
Mario Soldati: Gemma Foresi, Gina Lollobrigida;
Prof. Franco Vagnussi, Gabriele Ferzetti; Paolo
Scrtori, Franco Interlenghi; Letisia Sertori, Marilyn
Buferd; Luciano Vittoni, Renato Baldini; Elvira
Coceanu, Alda Mangini; Mrs. Foresi, Nanda Prima-
vera; Count Sertori, Alfredo Carpegna.
They Kissed and Made Up
( Continued, from page 11)
But theirs was never a romance, contrary
to rumor. Betty, warm, witty and intelli-
gent, was a trusted and faithful friend,
helping see Jeff through a troubled time.
Nor, contrary to opinions of the ill-in
formed, was there ever any dissension be-
tween Jeff and Marge over Marge’s hav-
ing a career. The truth of the matter is
that as talented an actress as she is, after
their marriage, Marge’s career couldn’t
have mattered less to her. Her husband,
her family and her home were career
enough, she said. After their separation,
Marge was determined to restimulate her
interest in a career to have some goal, to
give life more purpose. There was no need
for money, certainly. Jeff provided amply,
and the terms of their settlement gave
Marge $47,000 a year. But as she has said,
“Now I would like to work. I never
thought of resuming my career as long as
there were more important interests, but
now I’d like to get into television or per-
haps the theatre. It’s up to me to restimu-
late the drive, the push for a career.”
During the past months Marge has ap-
peared in several TV shows. Her agent is
also Jeff’s agent, Meyer Mishkin, who’s
equally devoted to both of them and with
whom Jeff has shared an office in Beverly
Hills for some time. Just the day before
their reconciliation was announced offi-
cially, Marge was at Warner Brothers dis-
cussing an important role in “Rebel with-
out a Cause,” starring James Dean.
As she’s said, “Jeff has never objected
to my having a career.” And as Jeff’s said,
I “I’ve wanted Marge to work more than
she has wanted to. But she felt she had
another career. And during the years her
drive diminished.” In a happier day he
used to say laughingly, “I’d love for her to
work in pictures — if only to understand
how hard I work.”
Basically, their difficulties have stemmed
from the same situation prevalent in hun-
dreds of other homes throughout the land,
involving he who works and she who stays
home. But their situation was intensified
by deep and opposing insecurities. To
Marge, love has always meant interde-
pendence and her happiness has been de-
pendent on him. Jeff’s security lay in large
' part in his job.
Just how much Jeff’s happiness depend-
f ed upon her, just how much he needed
her, for all his recurrent moods and silence,
j Marge probably would not have believed
I then. As a close friend of Jeff’s recalls
now, “I was with him the day Marge
finally entered the decree. He was busted-
up, a really upset, a very depressed man.
After their separation, it was Marge
herself who put a wise and intuitive fin-
ger on the source of much of their trouble
: — even though she felt they had gone be-
yond the answers then. Both come from
divided homes. Jeff’s parents separated
when he was three. He grew up in Flat-
bush surrounded by poverty. His mother
worked as a manicurist and did other odd
jobs to support them. He worked before
and after school. He knew poverty, but he
also knew love. He had his mother’s love
and that of adoring grandparents who
helped raise him besides. His giandfather,
a Russian immigrant, brought his family
to America where they could have more
opportunities. In this wonderland, he
would tell a wide-eyed Jeff, you could be
whatever you willed to be. Anything could
happen. The tallest dream could come true.
And from childhood, Jeff enveloped him-
self in his own tall and beautiful dream —
to be an actor. He was ever dedicated to
this dream. Undiscouraged by the lean
and defeating years when he beat on doors
that wouldn’t open for him, he was deter-
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105
mined to work all the harder— when finally
they did open.
Marge never knew hunger or poverty,
but from childhood she knew a lack of
love. Hers was a lonelier childhood, fol-
lowed by years in boarding schools. She
has had an emotional need for reassur-
rance and a great outward expression of
love. And as she’s said, “Jeff always knew
a lot of love but he was very conscious
from childhood of the need for financial
security and his job meant a great deal
to him.
“Perhaps,” Marge would say, “if I’d
been more self-sufficient, as many women
apparently can be. Perhaps if I’d been a
person who could be absorbed in a career
of my own or in other outside interests —
then I might be an easier person for Jeff
to live with. Perhaps, if I hadn’t been so
dependent on him—”
Perhaps, Jeff would muse in turn, if as
his career developed he hadn’t had the
tendency “to tie myself up inside and not
give as much as I might have” of himself
to his home and the interests there.
Perhaps if they hadn’t once been so
happy together. As Marge put it aptly,
they aren’t “casual people.” They just
couldn’t go on with the shell of the happi-
ness they had once known together. The
happiness still too well-remembered to
settle for less.
In the past year and a half they’ve both
had lonely hours to weigh and remember
and wonder if perhaps. . . .
But to anxious friends counting the days
remaining before their divorce became
final, it seemed impossible this marriage
could die this way. After all, it had
weathered efficiency apartments with pull-
down beds, had survived scrimping and
budgeting and illness and all the frustrat-
ing days when Jeff couldn’t get inside a
studio, and had survived a painful seven-
month separation.
They had been so happy when they
reconciled before. And Jeff had given do-
mestic projects the full college try. He
made himself a workroom and became en-
grossed in the manufacture of various
things for their new home. No more fever-
ish goals for him, he insisted then. He was
going to enjoy life without rushing it. But
fame had already more than caught up
with him. He was star-high at the box-
office and the studio rushed him into pic-
ture after picture, and with characteristic
concentration, Jeff became more involved.
As he says now of his tendency to work
so wholeheartedly, “There’s got to be a
limit to that.” And his tone affirms that
from this day forward, there’s going to be
a new Jeff around home and Hollywood.
During the months they were separated
he worked harder than he’s ever worked
before. Their increasing unhappiness apart
was evident to many who knew them.
Marge tried to rekindle enthusiasm for
her own career. She kept busy with
“Share, Incorporated,” a club composed of
movie wives who concentrate on neglected
charities. She talked of traveling, and she
began studying French. Jeff added new
laurels as a Decca recording artist and
song writer. He was on the move con-
stantly. He took an apartment on Wilshire
Boulevard. Then he decided to live in his
dressing room on the studio lot. Then,
restlessly, he moved again. This time to a
one-bedroom furnished apartment not too
far from the studio.
But throughout their separation, Jeff
and Marge were closer than many knew.
As she said in the beginning, “As Holly-
wood as this sounds, we’re still good
friends.” She was as ready as ever with an
encouraging word and all enthusiasm
about his talent as a vocalist. When he was
cast in “Foxfire,” Marge rushed out im-
mediately and bought the book.
And Jeff was a constant visitor in her
home. As his mother says now, “Jeff was
there every day or evening to see the chil-
dren— or he would telephone. When he
was on location in the East, he called
long-distance every night and talked to
the three of them. The children and Marge.
He was always concerned about them.”
Holidays were the heartbreakers for
both of them, but these too they shared in
part. On Christmas Jeff loaded the car
with gifts for their tree. On Thanksgiving
Marge took the children by to see him,
and just how much the three of them
meant to Jeff was in his face and his mist-
ing eyes when they drove away.
Coming from divided homes as they
themselves had. Marge and Jeff were
doubly concerned that Jamie, 7, and Dana,
5, would have all the love and attention
they both could give. Happy-go-lucky
Dana took the whole situation in stride.
But Jamie’s blue eyes were puzzled. She
couldn’t understand why her father didn’t
live at home any more. As for Jeff — how
can you tell a child why?
Nor, as time went by, could Jeff or
Marge tell themselves why. They were
separated nine months before Marge filed
for divorce and, as the day neared when
the decree would become final, they must
have known this just could not be. That
neither of them could cut the final tie.
Pride and any stubbornness and past diffi-
culties diminished to true size.
Love finally found the way — and just in
time, just a month before the final decree.
But as Jeff says no\v, they’d been talk-
ing toward it for over six weeks before
they finally reconciled. From their first
appearance together — when Jeff took
Marge to Ciro’s to see Sammy Davis, Jr. —
they went out in public together various
times. Their increasing happiness was
pretty apparent.
As a close friend of Jeff’s observes,
“During this time Jeff was working on
‘The Spoilers,’ and doing added scenes on
‘Female on the Beach,’ as well as prepar-
ing for his next one, ‘Away All Boats.’ All
this, in addition to working up his Las
Vegas act for the Riviera Hotel — following
Liberace. But in spite of tremendous pres-
sures, he was able to handle it all and was
happy about it. I can only think he was
happy because he was preparing for their
reconciliation. I wasn’t surprised at all by
it. I think the past year has been very
beneficial to both of them.”
Jeff heartily agrees. “We were missing
somewhere before,” he says slowly now. “I
think the time we spent apart has given
us each an opportunity to brush up. To
learn more about ourselves and about
each other. We’re more cognizant now, of
many things. We’ve both learned and
we’re more aware. Just say we’ve grown
up a little bit. That may sound a little
juvenile,” he says, weighing the words,
“but — that’s the way it is.”
And you can grow until you die. And so
can love and understanding between two
like Jeff and Marge.
Jeff’s mother mirrored the thoughts of
all who know them saying, “They belong
together, these two. We’re all so happy
about it. And I’m overjoyed.”
Contrary to the rumor that they would
have another wedding for sentimental
reasons, Jeff was quick to say, “No, I don’t
think so. We’re married now.” Of this
there seems no doubt. They’re well-mar-
ried now.
They had three weeks for another
honeymoon before Jeff was due to leave
for the Caribbean on location for “Away
All Boats.” They spent part of it with the
whole New York Giants baseball team
chaperoning them. They were the house
guests of the Leo Durochers in Phoenix
and traveled on with the team to Las Ve-
gas and back to Los Angeles again. It took
most of the remaining time to move Jeff
into Marge’s house in West Los Angeles.
But there’s no longer any reason to anx-
iously count the hours. They have the rest
of their lives now.
There’s a gracious home in a lovely pic-
turesque neighborhood. A modified Medi-
terranean house with dark “Chandler
green” shutters, a red brick fireplace and
a lacy balcony running the length of the
second floor.
As Jeff says now, “It’s a beautiful house.
And the location’s fine. I can go right over
the canyon to the studio. But there’s just
not enough closet space for my things.
We’re either going to have to build in
more closets or find a new house,” he says
in a comfortably relaxed tone, which indi-
cates that at this happy moment it doesn’t
matter which.
And he adds, “It’s a wonderful feeling
that exists between us now. This is it. I
don’t want to analyze it. We’re not doing
any more analyzing now. We’ve done a lot
of that already. We figure we’re lucky
enough to still have love, and we’re going
to hold onto it this time!”
Perhaps it had to happen this way. Per-
haps Marge and Jeff had to face a future
without each other— to realize how much
they’ve had. Perhaps they had to come
within a whisper of losing each other for-
ever to find each other again.
But they know now, Jeff and Marge,
that theirs was only an interrupted mel-
ody. The End
SUDDENLY I SAW WHAT
A FOOL I’D BEEN!
Thousands of people — bewildered by overwhelming emotional
problems— have found the very help they needed on radio’s
"My True Story”. For this moving dramatic program deals with
the emotional difficulties of real people . . . the kind of people
you see and talk to every day. And when you tune in, you'll
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and jealousy. Each emotion-packed episode is taken from life
itself— right from the files of "True Story Magazine”.
Tune In
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Would she find out in time that life with her dream-lover would be
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106'
He's George!
( Continued from page 41)
by signing him to a long-term starring con-
tract. It’s obvious that the public agrees
with this opinion, for mounting piles of
mail on George’s dressing-room floor evi-
dence a fan following to rival Tony Curtis,
Rock Hudson and Jeff Chandler. And the
readers of Photoplay have acclaimed him
“one of the ten most promising performers
of 1955,” while the Foreign Press Asso-
ciation of Hollywood has named him “one
of the Stars of Tomorrow.”
Despite experience in a variety of roles,
from tragedy and classic drama to light
comedy and romance, George Nader’s fu-
ture seems surely to be occupied with
movies of adventure and romance. He’s the
romantic type. Tall, well over six feet, he
tilts the scales at 185 pounds. His eyes are
gray-blue; his hair wavy brown. His teeth
are white and perfect; his grin, warm and
frequent. Broad shoulders and a well-
muscled body will insure him high rating
in the beefcake department. Like Gregory
Peck and Clark Gable, George is not a
pretty man. Rather, his features are rugged
and lively and interesting — the kind of
looks that attract and hold a faithful fan
following. In addition, and certainly a point
not to be underestimated, he has consid-
!, erable experience in depicting tender pas-
sion.
On tv and in the movies, he’s romanced,
among others, Loretta Young, Ursula
Thiess, Anne Baxter, Julie Adams and now
Maureen O’Hara. And when his interlude
with Lady Godiva is completed, he will im-
mediately take up pursuit of Jeanne Crain
in a connubial love comedy provocatively
titled “The Second Greatest Sex.”
He will be kept so busy, according to
present plans, that he’ll have little time for
the beach (“I enjoy swimming and going
to the beach more than anything”) but
probably will be spending more time at the
piano (“Playing the the piano is the best
way to relax I know”). He has a Kimball
grand piano in his San Fernando Valley
cottage and when he’s particularly tired or
tense he sits down and plays some Ravel,
Rachmaninoff and Cole Porter.
“I’ve had the piano ever since I first took
lessons,” George says. “It’s like a real old
1 friend.” And of his ability to play, “I’m hap-
pier about that than any other thing I’ve
learned.”
But it wasn’t always so. Years ago, a
small boy stood beside that piano, clench-
ing his fists. “I hate it!” he shouted defi-
antly through gritted teeth.
“You must practice,” Mrs. Alice Nader
told her seven-year-old son firmly. “To
learn, you must practice.”
“No!” he stormed.
“Yes,” she said calmly.
One hour of daily practice was the rule.
For a good musical groundwork, this was
not excessive. But to George it was time
that could be better spent swimming or
reading or just looking at trees and dogs.
However he bent to the adult will.
Grudgingly, with black-browed reluctance,
he ran his scales and finger exercises.
While a succession of music teachers bad-
gered him with technical commands.
“Make the run like a little string of
pearls, George,” they told him. “Let each
note fall on the ears like raindrops in a
pool.”
And with his back turned to the teacher,
the small boy made a horrible face and kept
plodding up and down on the keyboard
until his arms and fingers ached.
George’s father, George Nader, Senior,
is a broker and salesman of real-estate and
oil property. “There are no other actors
in our family,” George says today, “but
Father could have been a good one. He’s
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very personable. He’s a real live-wire.”
The Nader home — Spanish type with a
red tile roof — was located right in the heart
of Los Angeles, but George had no interest
in such things.
School occupied his time. That is, school
and music lessons and Christmas and va-
cations and going to the beach. Happiest
are the memories of the family beach home
at Playa Del Rey, which is on the ocean
just south of Santa Monica. “That was
where I learned to swim and battle the surf
and love the sun.”
A neighboring town, Venice, was a place
of wondrous fascination, too. Patterned
after the Italian city, it was a labyrinth of
man-built canals (unhappily long since
filled in) populated by all types of marine
craft from punts and canoes to sleek power
cruisers. And filled with an excitement of
strange sights and wonderful pungent
smells.
“The locks where they controlled the
water level was one of my favorite haunts,”
says George. “I used to hang around there
by the hour.”
The young man was a romantic. He had
a taste for adventure and a yen for der-
ring-do and faraway places. And the li-
brarian at the Venice Public Library knew
him well.
“What’ll it be today, Georgie?” she asked
him, “mysteries or travel? Or some of both
perhaps?”
George grinned. Alternately he squatted
and tiptoed in front of the book stacks until
he found what he wanted and trudged home
with his weekly load of five books, the
maximum allowed on one library card.
Sherlock Holmes, Moby Dick and Huckle-
berry Finn companioned his daydreams.
The works of London, Stevenson, Melville,
Twain and dozens of others tugged at his
imagination. Tales of the lost tribes of the
Incas and Mayas held him wide-eyed. And
one of his special favorites was titled
“Stowaways in Paradise,” which told of
two kids who stowed away on a ship and
took a voyage to Hawaii and the islands
of the South Seas.
Years later when George sailed there as
a Naval officer during the war, he was pre-
pared for disappointment. But his dreams
had not failed him. “The islands were ex-
actly as I had imagined them,” he says.
George was an only child, but he was not
lonely. “My mother’s family was a large
one; she was one of seven children,” he
says. “So I had lots of cousins to play with.
My grandparents had a big old-fashioned
home on Menlo Street and that was where
the family usually gathered.”
Christmas was a magic time. “Of course
we all went to Grandfather Scott’s. He was
head of the Cudahy Packing Company, and
the table always groaned under the huge
roasts of beef and ham and turkey. Grand-
ma had spent days in her kitchen baking
all sorts of pastries, pies, cookies and fruit
cakes. She did it all herself. She wouldn’t
let anyone help her. She said it was her job
to do the cooking for her family. Of course
all of us, especially the kids, stuffed our-
selves until we ached.”
But life was not all fun and happy times.
George was thin as a fence rail, and he was
plagued by a succession of childhood ail-
ments. Chicken pox, mumps, measles,
whooping cough, scarlet fever, all of them.
Hypodermic needles of vaccine to ward off
diphtheria were a special terror and left
their mark on his memory as well as his
body. To this day he abhors them.
“George, you musn’t tell about being so
sick,” his mother said recently. “People will
get the idea that we didn’t take care of
you properly.”
“Oh, come now, Mother,” he said. “Lots
of kids get such illnesses in spite of any-
thing their parents can do.”
As a result of these afflictions, George
spent a good deal of time in bed and away
from school. But he didn’t fall behind in his
studies. His mother had once had a teach-
ing certificate, so she tutored him at
home. As an extra inducement she bought
him a 12-volume set of “The Book of
Knowledge.” “They were wonderful
books,” he remembers. “They had all sorts
of school tests in them and they were fun
besides. The pictures were really some-
thing.”
Eventually, however, Alice and George
Nader decided that the boy needed a com-
plete change. They sent him to a boys’
camp and school in the San Gabriel Moun-
tains back in Azusa, California. There were
about a hundred boys there, some of them
sickly, many of them suffering with
asthma. George was ten years old.
“We practically lived out-of-doors,” he
says. “We got as much fresh air and sun-
shine as possible. We slept on screened
porches. We drank a big glass of milk every
midmorning and midafternoon. Except on
the very coldest days, we never wore any-
thing more than shoes and a pair of shorts.”
There was an earthquake that year.
Everyone ran out of the dormitories to
watch.
“Hey, looka the ground! It’s shakin’!”
“Are you scared?”
“Nah! What’s to be scared of?”
“Look out for the boulders cornin’ down
the hill!”
After a year at the camp, George came
home, his health fully recovered. He was
brown as a Sioux, and a dozen pounds
heavier. Bursting with energy, his blood
fired with newly acquired red corpuscles, j
he promptly fell in love.
“Her name was Geraldine,” he says in
blissful reminiscence, “and she had long
red hair. I was quite mad about her.”
Their romance blossomed on the school
grounds. It bloomed while they trysted on
the parallel bars where Geraldine excelled
at “skin the cat.” That year there was a
snowfall in Pasadena and the lovers spent
happy hours building a snow man. But i
nothing ever came of all this.
“I guess it wasn’t meant to be,” George
says sadly.
All in all, the world was a good place for
George that year. Except for one very dark
cloud. The music lessons, postponed during
the year at camp, were begun again. And
along with them came a new form of “tor-
ture” known as the recital.
One well-remembered occasion took
place at the music teacher’s home. There
was an audience of mothers and dads, al-
ternately beaming and nervously ruffling
their feet. The program consisted of a
crashing rendition of the William Tell over-
ture, performed by a full orchestra com-
plete with wood winds and lots of brass.
And two pianos yet, one of them George.
“It was awful!” he recalls.
Then another time George was called
upon to play a solo. “I played ‘Country
Gardens’ by Percy Grainger, and I guess I
got through it, but I don’t know how. My
face was hot and flushed, my arms were
paralyzed, my mind was a complete blank.
I was in a blind panic.”
Despite these agonies. George did man-
age to gain considerable musical compe-
tence and facility. By the time he reached
high school he was playing exceedingly
well. And when he decided that he wanted
to study popular music, his parents readily
agreed.
“I studied harmony for about six
months,” he says. “I had a good groundwork
and the fingering was not too difficult. After
that it began to be fun.”
However there had been a turning point
before this. While in grammar school, his
class had attended a performance of The
Yale Puppeteers at Olvera Street, a
Mexican show place in downtown Los An-
geles. Later, as a class project, they built
their own puppet show. George was en-
tranced. Within him was born a deep desire
to learn more about stagecraft and the
theatrical world.
“I got an old piano box and built my
own puppet stage in the back yard. Then
I made the puppets out of plywood. When
I was ready I gave a performance for all
the kids in the neighborhood. It was ex-
citing and fascinating. I had really been
bitten by the theatre bug.”
When he was in Junior High School,
George bought his first automobile, a 1932
Ford coupe. He had earned the money him-
self, as a summer clerk in a grocery store,
and as a messenger for a photostating firm.
That year his pride got another boost when
his father gave him a key to the family
front door.
“You mean I am now to come and go as
I please?” he asked.
“Yes, George,” his father said. “You’re
old enough now to know what’s right and
best. From now on it’s up to you. Your
mother and I are not going to worry about
you any more.” a
The following year, in Glendale High
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108
School, George fell in love again. Having
fully emerged from under the titian spell
of Geraldine, the gay inamorato now went
into a full spin over Arlene, a corn-silk
blond. “She was fabulous!” he says. “The
most exotic thing I had ever seen.”
What seems to have intrigued him most,
and held him in a strange fascination, was
the fact that Arlene’s blondness was not
only self-induced but self-admitted.
“What you do is take a box of Lux and a
bottle of peroxide and mix them up to-
gether,” Arlene explained forthrightly.
“Then you use that to wash your hair.”
George gazed at the object of his affec-
tions with open-mouthed adoration. Fol-
lowing the tradition of lovesick swains,
his tongue failed him completely. And in
the face of this astounding pronouncement
the only thing he could think of to say was,
“Gosh!”
However the romance of Arlene and
George was of short duration. In fact it
never really got started.
“I just worshiped her from afar,” he now
says. “Actually she was a little too expen-
sive for me. Oh, sure, I had a Ford and a
few bucks to spend on dates. But Arlene
was a kind of girl who was destined for
bigger automobiles and four-letter men.”
George’s spirit was far from crushed. His
real love was the theatre, the mechanical
theatre of footlights and flies and painted
sets. The Glendale High School auditorium
I was completely equipped with everything
a legitimate theatre needed. This was what
George had long looked forward to. He im-
i mediately enrolled for a course in stage-
craft. “It was the only thing I was really
interested in.”
George makes it very clear that he didn’t
: study dramatics. “I wasn’t the least bit in-
I terested. And besides I didn’t think very
highly of actors as a group.” He became a
member of the regular stage crew, and
studied stage design and practical stage
management. He started as a helper, and
learned to build and paint flats. He learned
all about lighting, too. For example, he
learned that a dark blue bulb over a stage
door can be twice as hot as a white one.
When he grabbed one it sizzled and smoked
in his bare fingers.
“I got second degree burns,” he says.
“The kind where the top flesh peels off.
I learned that one the hard way.”
That year there was a school production
of Gilbert and Sullivan’s operetta, “The
Gondoliers.” For the second act a full back
set was hauled into the flies high above the
stage. Without counterweights, this was so
large it required three stagehands to handle
it. But during the first performance
George and another equally enthusiastic
but unthinking helper tackled it alone.
They were outweighed. They untied the
set and it descended with a crash, while
they soared upward.
“We dangled there like a dowager’s lava-
lier,” says George. “It was pretty embar-
rassing.”
Despite such mishaps, and the added
hazard of a stage-crew member named
Sandra who “managed to look outstanding
even in coveralls,” George made rapid
progress. In his senior year he was ad-
vanced to full stage manager. That year
the auditorium was used for a Police Bene-
fit Show and George had his first chance
to work with a top-flight movie star. Her
name was Judy Garland.
At Occidental College George went on
with his stage work. “Their theatre-audi-
torium was called Thorne Hall, and it had a
wonderful stage. Everything was almost
brand-new. All they lacked was someone
to manage it. When they found out I had a
lot of experience they seemed very glad
about it. They immediately made me stage
manager. Naturally I was delighted.”
The following year George got his first
taste of drama from the actor’s point of
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view. A brother Phi Gamma Delta had
written a play, and was trying to cast and
produce it. He approached a group of fra-
ternity pledges, George among them.
“We seem to be short of actors,” he told
them. “You are about to volunteer.”
“Thanks, but no thanks,” the lowly
pledges chorused. “We would rather die.”
“We shall see,” said the playwright. “I
direct your attention to this large wooden
paddle I hold in my hand. Now bend down,
men. Assume the angle.”
This persuasive tactic was irresistible.
The pledges became actors.
“It was one of those oblique dramas,”
George says. “The dialogue consisted of
the thoughts of the different characters,
and so it was tape-recorded. On stage all
we had to do was suit the action to the
words. But I was scared to death just the
same.”
Nevertheless George was interested. And
this was a beginning. He sought out his
next role in a comedy “Out of the Frying
Pan.” When, on-stage, he spoke some funny
lines and heard the audience laugh, it was
a moment 'of decision. He told himself,
“This acting business is pretty easy stuff.”
After that he switched completelv from
the mechanics of management to the nu-
ances of portraying drama. He appeared in
a long list of plays including “Guest in the
House,” “Murder Has Been Arranged” and
“Kind Lady.” In his final college year, be-
fore he was graduated with a B.A. degree,
he was elected president of the Drama So-
ciety.
“Next,” he says, “there was the war.”
After three months of intensive study and
training, George became a Naval officer, or
as he terms it, “a ninety -day wonder.” He
served as a communications officer in Ha-
waii and on Johnston Island in the South
Pacific. Then, after his discharge in 1946,
he spent three more years learning his
theatrical trade at the Pasadena Playhouse.
After he graduated with a degree of Bache-
lor of Theatre Arts he felt that he was
ready for Hollywood.
But Hollywood did not seem to be ready
for George.
Is there a greater frustration than that
of a man who seeks a job and cannot find
it? Surely not, unless it be the pangs of
an unrequited love. George’s hopes sky-
rocketed when an agent approached him
with happy talk of a movie career. Then
they plummeted when the agent failed to
produce anything even faintly resembling
a job offer. But finally a break came.
Mrs. Loretta Crain— Jeanne’s mother —
saw him acting at the Pasadena Playhouse
in Williams’ “The Glass Menagerie.”
Convinced that he was a comer, she got
Jeanne interested, too. Together they ar-
ranged interviews for George at 20th Cen-
tury-Fox. As a result he was offered a
screen test.
George was jubilant and profoundly
grateful to Jeanne and Mrs. Crain. “They
really went all out for me,” he says. For
his test he did a scene from “The Glass
Menagerie” with Colleen Townsend, and he
felt that he had done a good job. But he
was doomed to bitter disappointment. At
the same time the studio had tested another
young actor. He was signed to the contract;
George was not. It was a blow to him.
“When 1 got the news I felt miserable.
I couldn’t have felt worse.”
But his spirit was not broken. When they
offered him a small part in “Take Care of
My Little Girl,” he accepted it. He worked
exactly two days at a minimum salary of
$125 a day. Then after a few more minor
parts he met a tv casting director named
Ralph Acton and his career really began
to roll. He made a top-budgeted picture in
India and another in Germany, “Carnival
Story.” And television viewers saw him
many, many times.
Today Barbara Stanwyck, with whom
George played in a radio drama, is one of
his closest friends. He is grateful for her
encouragement and her advice. Loretta
Young was helpful, too. Of her, George
says, “She’s the best teacher I ever had.”
When George was offered his contract
at Universal-International he still had a
commitment for two “Letter to Loretta”
tv shows. This might have jammed things
up, but Loretta proved to be a good friend
and released him. “It’s a fine opportunity.
Go and make the best of it,” she told him.
“And God bless you.”
Now George’s future is assured. Despite
Geraldine and Arlene and Sandra, he is still
unmarried and apparently heart-whole and
fancy-free. But a friend says, “I know he
has a great fondness for a girl who lives
in Pasadena.”
At present, however, aside from relaxing
at the beach and playing the piano, George
is concentrating on his career — and ad-
mitting again that there’s more to acting
than met his young undiscerning eye.
The End
Bing — Goes That Crosby Myth!
( Continued from page 58)
smartest cafe. Soon afterwards, Bing got
an offer from the Cocoanut Grove.
Promptly, he told Perlberg: “There’s only
one thing — the deal says we can’t have
an agent. So I told them I won’t take it!”
Perlberg released Bing for the new offer
by tearing up, with a cavalier and costly
twist of the wrist, what turned out to be
at least a $10,000,000 contract. Agent and
crooner finally were reunited as producer
and star. The profound loyalty of Bing’s
true nature brings him the same loyalty
in return. Perlberg’s a twenty-five-year
man on the Crosby team. Among the
twenty-year men have been: Wally West-
more, make-up man; the late Barney
Dean, gag-man; Jimmy Cottrell, prop-
man; Leo Lynn, Bing’s Man Friday and
good right arm. Wally says, “You don’t
kid Bing. He’s death on backslappers and
yes men. And he can spot a phony a hun-
dred yards away.”
There have been times when Bing has
needed the devotion he has so truly
earned. He took on his first serious dra-
matic performance, in “Little Boy Lost,”
when Dixie was gravely ill. He sailed
away to France on location — on her doc-
tor’s orders. “She knows you’ve planned
to go,” the doctor explained. “If you stay
behind, she’ll know why. And that would
do it.” Through long weeks overseas,
Bing never disclosed the truth to any-
body; he carried the whole load himself.
He was quieter than usual. Almost every
other day, he called Dixie on the transat-
lantic phone. Evenings, he holed up in his
hotel room, working on his autobiography.
But his good friends sensed his trouble.
“We were all groping around for some
way to help,” one of them recalls. “Try-
p ing out how far we could go — maybe pull-
ing a little gag. And Barney Dean — I’ve
never seen a man stick so near.”
A funny, endearing little man, Barney
was a bit out of his league on “Little Boy
Lost.” There were no laughs needed for
that picture, but Barney worked harder
than he’d ever worked in his life to pro-
vide one. At intervals he’d go around
staring thoughtfully at the ceiling of the
sound stage. If interrupted, he’d chide
gently, “Don’t bother me now — I’m think-
ing up drama.”
The tragic news finally came. Three
days after Dixie was gone, Bing was back
on the set, welcoming the distraction of
work. Both Bing and director George
Seaton believe in shooting a picture in
continuity, to sustain the characterizations.
By a sad irony, the next scene called for
Bing, as a war correspondent, to broadcast
the news of his wife’s death. “This man,”
Seaton says, “can feel an audience better
than anybody — and he felt all the de-
pressed reverence around him. And he
soon let everybody know, ‘We can’t go on
this way.’ ”
Seaton decided to approach the problem
forthrightly. “Look, Bing, I can’t avoid
the lines here in the script — speaking
about a wife who’s dead. But we can
change the shooting sequence, any way
you want to handle it.”
“I understand,” Bing told him. “Noth-
ing you say or don’t choose to say is going
to change matters. Let’s make a picture!”
Taking their cue from Bing, saying noth-
ing, they all rallied around him, helping.
Even the “little boy lost,” Christine Four-
cade, was always clinging to him, walking
hand in hand with him, haunting eyes ever
watching him. “He idolized Bing,” a
friend remembers. “He would uncon-
sciously imitate him. We could hear them
laughing together sometimes — and that
was a very good sound.”
Eventually, Bing had to face an even
more grueling scene, the most important
in the picture. The war correspondent,
who had never in his own heart accepted
the fact that his wife was dead, would be
forced to listen to the official, brutal ac-
count of her death, read by a friend. He
had to realize that to go on living and to
love the living a man must bury his dead.
“Bing,” Seaton explained, “you’ve got
to let yourself go in this scene. You can’t
be holding back. You’ve got to make the
audience understand how you feel here —
how it’s going to be.”
“You’re talking about any actor. I’m a
crooner.”
“Not in my book, you’re not.”
When the camera stopped turning, Seat-
on came up to Crosby. “You had tears in
your eyes.”
“I did not,” Bing said.
“You’ll see.”
They ran the rushes. “If that’s a croon-
er,” Seaton said quietly, “then I don’t want
actors.”
That may have been the first time that
Bing fully revealed himself before the
cameras. But there was an earlier oc-
casion when, far from Hollywood, he un-
consciously let others look into the depths
unsuspected during his crooner days. He
was touring the muddy battlefronts of
France, entertaining the weary troops of
the Third Army, trying vainly to duck the
always-requested “White Christmas.” Bing
sang for the boys in the “hopeless tents”
with all his heart — and with the prayer
that his eyes weren’t giving him away.
Afterwards he said to a fellow member of
his troupe, a little dazedly, “You know— I
don’t even remember doing that show. Did
I do okay?”
This was the Bing Crosby that Seaton
wanted to capture on film. The director
still insists, “The scene was one of the fin-
est moments I’ve ever seen on the screen.
Bing’s one of the most talented men this
industry has ever known. He has a tre-
mendous wealth of talent as an actor,
which hasn’t been tapped until recently.
He’s also one of the most intelligent human
beings I’ve ever run into. In my opinion,
he can play any part Spencer Tracy can
play — any part that requires real soul-
searching. I knew he could do ‘Country
Girl.’ ”
Convincing Bing that he could do it
wasn’t so easy. From the beginning, pro-
ducer Perlberg and director Seaton had
only one actor in mind for Frank Elgin,
the irresponsible has-been, the pathetic al-
coholic, the psychopathic liar of “The
Country Girl.” It wasn’t fear of the critics
that made Bing hesitate. As he’s said,
“I’ve been impaled before.” He just didn’t
believe he was actor enough. “I don’t
think I can cut it,” he said. And he re-
turned to his oid refrain: “You need an
actor. I’m a crooner. You need a Fredric
March or somebody like that. I just don’t
think I’m capable.”
“Have a little faith in us,” they told him.
“Well . . .” he said finally. “I’d love to
do something like this. If you guys think
I can do it — I’m in your hands. I’ll do
anything you ask me to do.”
As soon as actual work began, Bing’s
doubts lessened. “Actually,” he says now,
“it turned out to be a very easy picture
for me — the easiest I’ve ever made. It was
well-prepared; we rehearsed in advance for
ten days. Everything was so well coordi-
nated we even finished the picture a week
early. George had a good tight script —
and the script we had at the end of the
picture was the same one we started out
with. That’s different from big musicals —
they can get pretty confusing. You try to
improve on the script as you shoot. You
labor and sweat, and you’re all slowed
down. I’m not an authority on this, but I
think a great script plays an actor’s part
for him.”
Bing’s as generous with tributes to his
co-stars as to his director. “Working with
Holden . . . well, he paces you. He really
brings you up. In a fast league like that,
you’ve got to pick up the pace.”
Throughout shooting, Bing knew that he
was working as part of a team — including
the whole crew. When the cameras
stopped rolling one day, Chico, the as-
sistant director, had some announcements
to make. On behalf of the crew, he handed
out plaques as tokens of appreciation. The
one presented to Bing said: “This plaque
is with deep affection from the entire crew
— so please take good care of it. It cost
us a pretty penny.”
Seeing these words, Bing stammered, “I
think this — is the nicest gift — I — have ever
received.” And he turned away fast — but
not quite fast enough. Not before they
saw him misting up.
“That El Bingo!” Chico says. “I’ve never
seen a man who was so much so over-
come by such a small thing.”
In spite of these reassurances, Bing (he
admits now) kept on worrying after shoot-
ing ended. He’d been all primed to be a
poor man’s Barrymore, and he was afraid
he hadn’t put enough emotion into the
role. He had his regrets about that mem-
orable jail scene in which Elgin, with a
bad case of the shakes, breaks down and
cries. “I didn’t think I did enough. I
could have gone more. I was ready to
really tear up the scenery.”
Bing’s son Gary reacts to that self-cri-
ticism with a startled laugh. “The next
step would have been seeing elephants, so
I’m told. That drunk scene in jail — that
killed me! I couldn’t believe it. I wasn’t
home while they were shooting it, but I
hear that Dad stayed up all the night be-
fore, drinking stale coffee and letting his
beard grow. I thought he was great!”
Such an earnest approach to a difficult
part certainly wouldn’t fit in with the old
Crosby myth. But it’s typical of Bing
himself, and it took its toll in nervous
energy. Afterwards, he went to Hayden
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Lake, Idaho, to rest. There an unexpected
crisis confronted him, in the shape of a
long-distance call from a doctor who had
just examined Bing’s old friend Barney
Dean. Prompt surgery was imperative.
Bing contacted his own personal surgeon
(the finest), who was out of town but flew
home. There was never a chance; in three
days, Barney was gone. Gag-man to the
last, even in the hospital, he’d given Bob
Hope a line that was a classic, printed
throughout the land. “What do you want
me to tell Jolson?” he asked.
Bing, too, had talked with Barney, from
Idaho. But, under the stress of his emo-
tion, the whole thing was such a haze for
him that he can’t even remember what
was said. He’d said since, “It was a pretty
difficult conversation — -all the way.”
It was a selfless grief that confused Bing
— not the fact that he himself was facing
surgery at the time. He’d been undergo-
ing treatment all through the shooting of
“Country Girl,” with the hope of staving
off an operation. He treated the prospect
so casually that his friends were surprised
at the final tip-off. Says one of them,
“When Bing charters a plane and flies
away from a golf tournament — he’s sick!”
In the hospital, Bing refused to play the
invalid. Before the operation, he found
he’d be short some CBS radio shows; so he
told producer Murdo McKenzie (a twenty-
year Crosby man in radio) to bring the
tape recorder to his room at St. John’s —
“And we’ll cut a few before we go.” Who
but Crosby, before going into surgery,
could chat so easily into the recorder
about the French switching to milk, about
the noble art of truffle-snuffling?
More than that, he kept up his fabulous
correspondence from his hospital bed and
even maintained a clipping service for a
few friends. Rosemary Carroll, his secre-
tary, called Jimmy Van Heusen with this
message; “Mr. Crosby’s sending over some
clippings from Australian papers for Frank
Sinatra. They’re about his tour. He
thought Mr. Sinatra might like to have
them.”
No wonder Van Heusen says, “Bing’s a
very big man. Everything’s big about
him. There’s his correspondence — no man
writes more letters than . Bing. And his
silent charities, his mentality, his huge
memory. He’s a wonderful father. And
he can bear pain better than any man
I’ve ever known.”
From the hospital room went clippings
to George Seaton, too — hinterland-news-
paper reviews of “Country Girl” that Bing
thought the director might otherwise miss.
But every time a critic made flattering
mention of Crosby, there was a Crosby
footnote: “Of course, he’s really talking
about you.”
Bing was recuperating at home when
the Academy Award nominations were
announced on television. He watched the
show with sons Gary and Linny and with
Jimmy Van Heusen. Innately humble as
Bing is, he is also too honest to have pre-
tended surprise. “Well,” he says, “I
thought we might have a chance. I was
very gratified. I’m happy we got a movie.
But you never know. I thought we had
a chance with ‘Little Boy Lost’ — with the
picture, that is — and we didn’t get in.”
Nobody was pulling harder for Crosby
to win than his sons were, and nobody
sensed more deeply how much it would
mean to him this time. Linny showed a
bit of the inherited casual air when he of-
fered congratulations on Bing’s radio
show, saying, “It really thrilled me, Dad —
and may I say it hasn’t hurt me socially,
either.”
And Gary says, “I thought Dad was good
in ‘Going My Way,’ but he was still him-
self. I don’t think he thought too much
of his own performance. I know he’s
always said about winning that award,
‘Well — it was a war year.’ But ‘Country
Girl’ really amazed me. It was so differ-
ent from the carefree bit in the ‘Road’ pic-
tures and all that. ‘Little Boy Lost’ was
the warm-up — but this was the big show.
Disregarding the fact that he’s my father —
and being as objective as I can — I think
Dad gave the best performance last year.
I wish I’d had a vote. I’d sure have given
it to him.”
The devotion that Bing’s sons feel for
him is a natural return for the affection
he has lavished on them all their lives. In
his studio dressing room and his office, the
story’s there for any visitor to see. Ex-
cept for pictures of Dixie and his mother
and his horses and himself (hoisting his
biggest fish), the walls are papered with
photos of the boys at every age and on
just about every imaginable occasion.
But it’s well-known that Bing can be a
firm disciplinarian, too, and that he has
done his best to keep his fame from inter-
fering with his sons’ lives. At school
shindigs, he always tried hard to remain
in the background. When photographers
closed in on him, he would protest, “Look
— I’ve got nothing to do with this. I’m
just here like any other father. This isn’t
my show.” An important magazine once
tried to high-pressure him with the re-
minder of all they could do for Gary.
“That’s exactly what I don’t want,” he told
them emphatically. “I want Gary to be
just like any other normal kid going
through school. These things make it
very hard for him.”
Consistently, Bing has shown strong pa-
rental interest in his sons’ grades at school
— and in seeing that they kept the nightly
curfews at home. They admit to having
been “grounded” on occasion in the past,
for periods varying with “the gravity of
the offense,” and at the time each probably
felt a boy’s natural resentment. They un-
derstand now. As Gary says, “He’s no
spare-the-rod-and-spoil-the-child father,
but any time I ever got a licking I had it
coming. I’m happy I was brought up that
way, rather than the spoiled and pampered
deal. That would have made it a whole
lot tougher later on — like now, with the
show ahead of me.”
Gary’s heart has always been in show
business, set to the same beat that im-
pelled his dad toward Hollywood. The
public discovered Gary when he sang
“Dear Hearts and Gentle People” on the
Crosby show five years ago. At the gen-
eral reaction, a forecast of Gary’s future,
Bing certainly felt fatherly pride. But
mixed with it was some measure of fath-
erly fear over the effect this might have
on the school years ahead and the sort of
future Gary’s parents wanted for him.
It’s typical of Bing that, once he realized
there were no sheepskins in sight, he let
Gary set his own course. Without making
a production of it, Bing gave his son his
own time slot last summer and backed him
up with his own trusty radio crew. It’s
typical, too, that he had one parental ad-
monition before Gary took off. “Keep it
in good taste,” he said.
Ask Gary whether, as a newcomer in
show business, he has any kicks about be-
ing Bing’s boy. You’ll get: “Kicks??? I’d
be out of my mind! Sure, some people
want to compare me with Dad — but I
could be compared with a lot worse. No-
body’s got a voice like his, and in thirty
years nobody’s ever been able to culti-
vate one. I don’t mean to say it’s all
roses,” Gary adds conscientiously. “There
are a few thorns. There are always some
wiseacres who give you that routine about
being just ‘Bing Crosby’s son.’ But the
roses sure choke out the thorns. I’d never
have gotten that break last summer — hav-
ing my own show — if it hadn’t been for
him.”
Now Bing is taking more than a casual
■ interest in his son’s career. “Gary never
did much in show business until last year,”
he says. “A few radio shots. A few rec-
ords. He’s had no experience with the
I public or working in front of people. He
didn’t start out in radio with the experi-
ence that I had or that Sinatra or any of
the rest of us had — a ten-year stretch in
vaudeville or night clubs or with bands.
I He broke in with practically no experi-
ence at all. It was quite a jump for him —
maybe too much. But he’s getting under
way now.” After appearances on Tennes-
see Ernie’s show beginning in March, Gary
again gets his own show this summer, and
CBS plans for him also include guest shots
on tv.
As the oldest boy, Gary has naturally
been in the public eye more than his
[brothers. But Bing’s fatherly heart makes
no such differentiation among his four
sons. The twins are in the service, and
Bing keeps the warm newsy letters roll-
ing toward them, along with batches of
oatmeal cookies. “The kids like to get
them from home. Phil’s still taking basic
training at Fort Ord. Denny’s finishing
his basic at Fort Riley, Kansas, and he’s
going into G-2 — Military Intelligence. If
he shows any aptitude for that, he’ll be
going to Germany this summer.”
Dark-eyed Linny, affectionately dubbed
The Boy Genius by his brothers, is at-
, tending Loyola. His plans shift daily be-
tween being an artist and being a baseball
player and studying for the priesthood. As
the baby of the family, he still has a cur-
few to observe. “He’s supposed to start
turning in by nine p.m. during the school
week,” his dad grins, “but it usually takes
him a little longer to get going.”
A fair rhythm and blues man, Linny
frequently guests on his father’s radio
show, sometimes singing, sometimes plug-
ging “client” Gary’s Decca records, like
“Koko-Mo.” Linny’s picked up quite a
following of his own, and the Australian-
* *
TO REACH THE STARS
In most cases your letters will reach
a star if addressed in care of the
6tudio at which he made his last pic-
ture. If you have no luck there, try
writing to each star individually,
c/o Screen Actors Guild, 7046 Holly-
wood Blvd., Hollywood 28, Cal. i
Allied Artists, 4376 Sunset
Drive, Hollywood 27
Columbia Pictures, 1438 N.
Gower Street, Hollywood 28
Samuel Goldwyn Productions,
1041 North Formosa Avenue,
Los Angeles 46
M-G-M Studios, 10202 West
Washington Blvd., Culver City
Paramount Pictures, 5451 Mar-
athon Street, Hollywood 38 i
RKO Radio Pictures, 780 Gow-
er Street, Hollywood 38
Republic Studios, 4024 Radford
Avenue, North Hollywood
20th Century-Fox, 10201 W.
Pico Blvd., Los Angeles 35
United Artists, 1041 North For-
mosa Avenue, Los Angeles 46
Universal-International, Uni-
versal City
Warner Brothers Pictures,
4000 West Olive Avenue, Burbank
* *
American romantic exploitation that Si-
natra gave him didn’t hurt his internation-
al social standing. A little-girl fan of Lin’s,
who’d seen him with his father on Ed
Murrow’s “Person to Person” show, re-
cently wrote requesting a picture of the
two Crosbys. Bing finally found one shot,
a candid flashed during rehearsal, but he
figured it didn’t flatter him. “Not very
good,” he said doubtfully.
“Not bad of me. Dad,” his son said sig-
nificantly.
During the past two years, since the
boys’ mother died, Bing has had to carry
a double burden of responsibility in their
upbringing, and at times it weighs heav-
ily. “The toughest thing about it,” he
says, “is trying to combat the wrong ad-
vice they get. It’s tough trying to beat
down all the advice from people conning
them, telling them how lucky they are,
telling them they should go to New York,
telling them how great they are. We’ve
always kept the boys on a pretty even keel
at home. But there are so many people
around here — mostly people who’ve messed
up their own lives — who are always ready
to give a kid bad advice.”
By contrast, here’s what Bing wants for
his sons in the years ahead: “I’d just like
for them to do something I can be proud of
— something they can be proud of. Have
‘class,’ be good citizens, raise families, do
something worthwhile in the world —
whether it’s in science or athletics or
whatever. I don’t care what it is — but
have a goal of some kind and get there, not
as Bing Crosby’s kids but as themselves.
I know they’re living in the shadow of
something built up. But they have all the
equipment to overcome this.”
About his own future, Bing naturally
has more definite ideas: “I’m getting along
now to a time of life when it doesn’t look
too attractive for me to always be chasing
up and down ‘Roads’ or be arch or coy. I
don’t plan to try to be a great actor or
anything, but I do want to do more sensi-
ble things. ‘You’re the Top’ is a big, gay
musical, but I play a more settled charac-
ter. I’d like to do a good comedy like
‘Genevieve’ or ‘It Happened One Night.’
And next I’d like to find a simple, senti-
mental story with a kid or with a juvenile-
delinquency theme. A good, tight story —
maybe without songs. They can take away
from the credibility.”
You may wonder: Where can Bing go
from here? No matter what he does, how
can he top himself?
“Oh, I don’t think I’ve done anything
exciting,” he laughs. “I’ve just been plug-
ging along . . .”
And typical of Bing’s modest attitude is
what he said before the Academy Award’s
presentation: “As far as my winning the
Oscar is concerned, I don’t see how a per-
formance such as mine can win over
Brando, in ‘Waterfront.’ ”
But he can’t get away with such modes-
ty now. It’s too late. Nobody believes
any longer in the good-natured drifter
cruising aimlessly along. Bing himself has
always maintained, “Every man is the re-
sult of that which happens when his life
touches the lives of others.” He means
this as a tribute to those who have helped
him when their paths crossed his. But
he’s stuck with his own words, for Bing
Crosby intimately touches more lives than
any other human being in the world to-
day. The music he makes — whether in
the key of hope or harmony or laughter or
charity — is his own unique Oscar, taller
than any of the Academy’s golden statues.
Bing’s real beat comes everlastingly
from the heart and not just from that
rhythm-happy foot. Whether he likes it
or not, folks all over the world are wising
up to the truth about him, and he’ll never
live it down.
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The End
113
There's Many a Quip About a Honeymoon Trip
(Continued, from page 55)
he discovered his mistake. The man
whom he thought was the porter turned
out to be justice of the peace!
Immediately after the ceremony, Bob
had to leave for Cloverdale, near San
Francisco, the location of his picture,
“Many Rivers to Cross.” Naturally Ursula
accompanied him. Being a wise wife,
she’s interested in the things Bob is in-
terested in — and one of these is fishing.
While he was toiling before the cameras,
making love to Eleanor Parker, Ursula
was off with a friend of his learning the
art of fly-casting. When she thought she’d
progressed far enough in her studies, Bob
went with her one noon to gander her
technique. It didn’t quite suit him, so he
offered her a lesson. “It’s all done with a
quick flick of the wrist,” he explained, and
with that, he flicked his wrist. The fish-
ing line tangled in the branches of some
trees and never was recovered. That was
the last lesson he gave his wife on the art
of catching fish.
Jane Powell almost didn’t make it to
her wedding to Pat Nerney, but it wasn’t
because she didn’t try. She tried too
hard. Having decided on Ojai Valley, a
resort not too far from Hollywood, for the
ceremony, she sped there in Pat’s Thun-
derbird. The bride was a little over-
anxious and put too much pressure on
the gas pedal. The cloud-rider was
brought to earth suddenly by the familiar
sound of a motorcycle siren. Unfortunate-
ly, it wasn’t Marlon Brando on the
’cycle. Jane explained, in answer to the
cop’s regulation question, that she wasn’t
going to a fire, but she was going to a
wedding, her own.
“I’m Jane Powell,” she said.
“Very happy to meet you, m’am,” he re-
plied, doffing his hat. “My wife and I en-
joy your pictures. I won’t keep you
long.” Jane’s face lit up. “It’ll only take
me a minute to write out this ticket.”
Jane’s face fell.
Separation rumors have haunted Liz
Taylor and hubby Mike Wilding almost
since their marriage. In fact beautiful
Liz told me:
“I guess I’ll have to have at least five
babies before people will stop saying Mike
and I are breaking up.”
Well, they did separate once, and only a
few minutes after their marriage in a Lon-
don registry office on February 21, 1952.
Their dual popularity had attracted a
crowd the size of which would have done
justice to an appearance by the Queen.
When Liz and Mike left the office to enter
their car, they were surrounded by a mob
right out of a scene from any DeMille
epic you can name, a mob so insistent on
seeing and touching them that they were
separated from each other. By accident,
Mike got into the wrong car. Liz was
waiting for him in another car. The crush
of the crowd was so great they had to
drive away and it wasn’t until five hours
later that they were reunited to each
other’s arm where they have remained
happily ever since.
Las Vegas was also the scene of another
more recent and less harried honeymoon,
that of Pier Angeli and Vic Damone. The
day after their lavish wedding at St. Timo-
thy’s in Beverly Hills, Pier and Vic drove
to Vegas where he was scheduled for a
night club engagement. When they re-
tired the first night, they hung a “Do Not
Disturb” sign on their door — and also on
their phone. An overeager operator ig-
nored the latter message and put through
a call to the newlyweds the next morning,
p A sleepy Pier shook slumber and stars out
of her eyes, picked up the receiver and
murmured: “Hello?”
“I want to speak with Mrs. Vic Damone,”
a voice said. “Hello, I want Mrs. Damone.”
“Who?” inquired Pier.
“I said I’d like to speak with Mrs. Vic
Damone,” the voice repeated.
“I’m sorry,” Pier replied. “Whom did
you say?”
“Mrs. Vic Damone. Can’t you hear?”
the voice came back rather impatiently
this time.
“Yes, but I just wanted to hear you say
it once more. It sounds so wonderful,”
Pier answered happily, put the receiver
back on its hook, turned over and kissed
the sleeping Vic., She never did find out
who called.
Lita Baron spent her wedding night on
the floor.
She and Rory Calhoun were married in
Santa Barbara and honeymooned at the
Biltmore Hotel there. Rory is a tall man
— too tall for the beds they supply at the
Biltmore. If there’s one thing that Rory
can’t stand, it’s having his feet hang over
the foot of the bedstead.
Rory called the manager. “Can we get
a longer bed?” he asked.
“We’ll do our very best,” came the polite
reply.
An hour later, nobody had done his best.
The bed was still too short. So Rory took
the mattress off it, put it on the floor, and
that’s where he and Lita slept the rest of
the night.
Audrey Hepburn married Mel Ferrer in
a secret civil ceremony in a quiet little
Swiss village named Buochs, but instead
of honeymooning, the newlyweds went
home to prepare for their second marriage
the next day. Seems Audrey had promised >
her mother (who wasn’t too keen on the
merger) that she would be married in a
religious ceremony before close family
friends. So on September 25, for the second
time in 24 hours, Audrey in a Dior “H-
style” gown and white hat, walked dry-
eyed down the 13th century chapel aisle
on the arm of her nervous husband.
While elaborate precautions had been
made to keep the wedding a secret and a
private affair, there wasn’t much the
famous couple could do about their honey-
moon, ultimately shared by thousands of
happy onlookers. Traveling by train to
Italy (Mel had a film commitment), each
time Audrey stopped reading her book,
shifted her position or Mel went for a
drink of water, trainmen and fascinated
travelers watched and happily beamed at
their every move. When they reached
Milan, the press was waiting, but they
managed surreptitiously to make their way
to Florence. However, by the time they
arrived in Rome, Audrey was screaming,
“We want to be left alone. This is our
marriage, not the public’s,” as thousands of
happy eyes and an international press
corps doggedly pursued them wherever
they went.
Finally, after a harrowing 100-mile-an-
hour chase from five carloads of press
photographers, Audrey, relieved, stepped
out of their car at the 20-room stone villa
they had rented. She no sooner got out of
the car when she sent up a loud shriek and
ran with her husband toward the nearest
entrance, bolting the door. For there, sit-
ting on the steps — uninvited — were a hun-
dred more pressmen and photographers.
When Audrey and Mel eventually made
an appearance before the group, Audrey
had only two words to explain it all —
“terrible, fantastic” — meaning, of course,
the publicity, not the honeymoon.
It took Bill Holden and Brenda Marshall
almost two months to get together after
they were married. Theirs was one of the
most hectic marriages in Hollywood’s hectic
history, and looking back on it, one of the
funniest, although at the time Bill didn’t
feel like laughing. But let him tell it in
his own words.
“I’ll try to make it short, Sheilah. Ardis
(that’s Brenda’s real name) and I planned
to be married at midnight on Saturday in
Las Vegas. I was working on a picture at
the time and didn’t get off until very late
in the evening. Through circumstances too
gruesome to recall, I got to Vegas at 2
a.m. The hotel had given away our bridal
suite, the minister had gone to bed and
we couldn’t get a license. We finally woke
everybody up, were married at four in
the morning and found a cheap room in
which to spend the rest of our time. I had
to catch a plane back for L.A. at noon
and Ardis left for a three weeks’ location
on a picture she was making. Before she’d
returned I was sent on location for a pic-
ture. While there I had an appendicitis
attack and was shipped home packed in
ice like frozen herring. When I arrived
I was sent directly to a hospital where
they yanked out the appendix. Two days
before I was to be released, Ardis com-
plained that she had a pain in her side. I
told her, ‘Honey, that’s just a sympathetic
pain,’ which proves how wrong I can be.
A doctor examined her and she had her
appendix out before you could say it. So
there we were, side by side, in hospital
beds. What a way to start a honeymoon. It
was a rough beginning — but it’s been
smooth ever since.”
John Derek played the absent-minded
professor at his wedding. He didn’t play
it, he was it. When he had elicited a “yes”
from pretty Pati Behrs in 1948, he ordered
a fabulous wedding ring designed bv his
jeweler. He and Pati left for Las Vegas,
found a justice of the peace and reached
that part of the ceremony that calls for
the groom to place a ring on the third
finger, left hand of the bride. John fumbled
in his pocket, but all he found was a little
lint left there by a careless tailor. There
was nothing round, nothing firm, nothing
set with diamonds. John halted the cere-
mony, phoned the jeweler in Los Angeles
and had him put the ring on an airplane
bound for Vegas. He met the plane,
grasped the ring firmly in his hand and
didn’t let go of it until he finally slipped
it onto Pati’s proper finger.
Aldo Ray would win the title of the
“most practical husband of the month” if
such titles were awarded newlyweds.
When he and bride Jeff Donnell were
packing for their honeymoon trip, he sug-
gested they take along an electric frying
pan that had been given them as a present.
Jeff couldn’t understand why he chose this
particular present from all they had re-
ceived, but she packed it with her lingerie
and took it along.
It wasn’t long before she found out why.
A friend had loaned them a cottage in the
Santa Cruz mountains and, as Jeff tells
it: “That Aldo isn’t dumb. An electric
frying pan is awfully convenient for cook-
ing, and I wound up in the kitchen almost
the entire time we were up at the cottage.”
Lana Turner and Lex Barker had a
pretty bad beginning to their marriage.
When luscious Lana wed Lex in Turin,
Italy, she was a brunette, and her dark
hair served as an effective disguise — too
effective. Everywhere she went with Lex,
he was besieged by autograph hounds
who loved him as Tarzan and they ignored
her. No matter what any star says, being
ignored is the worst thing that can hap-
pen. But Lana’s sense of humor saved the
situation, for she can look back now and
say with a laugh: “Wasn’t that a fine way
to start a happy life together!” But then,
Lana’s a blond again. After all, how far
can a sense of humor stretch?
The End
114
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